A divine disc duel between the riches that Alavarius B has
snarred and the even richer Porest plunder. Jamaican jazz
gets jerky in the smorgasounds here, plus more of that wham
bam thank you Molam which Master Gergis introduced us to.
His side ends with a great wavering prayer/lament. He even
works in the original “Tui Tui Tui” popularized to KFJC fans
via Neung Phak. DJ patter and chatter gets scrambled into
the mix, served up along with Catfish Fry and other fermented
shrimps of sounds. Somehow the Thai melodies tend to make
both the cheapest keyboard and the oldest khene sound regal.
Those melodies here get to stretch out, despite the fact that
this is on the radio collage series of Sublime Frequencies.
There are some spectacular jump cuts, still many pieces get
a solid 2 or more minutes uninterrupted. Even so there are
moments plenty, like the drone chanting at the beginning of
“The End of the News” where you want a section to sustain
longer. A lot of range here, strange range…from very odd
doo-wop, to jungle, to gamelan, to phone dedications, to
hyper-reverbed slices of dialogue. I’m sure more than one
show will end with the way Master Bishop chose to conclude
his contribution. Gracious and unearthly! Sonic Thai sticks
to the roof of your mind… -Thurston Hunger
A divine disc duel between the riches that Alavarius B has
Hypnotic sonic cocktails – captured raw and
vibrant like some slithering Amps for Christ
and Sun City Girls collaboration…instead this
is authentic snake sorcery. A swaying to every
track stirs your spine, the inner serpent.
“Pungi” are the reed instruments wherein circular
breathing drones ensnare these buzzing neo-techno
lines. Bouncy juggling percussion from “premtals”
contrasts a more relaxed, loping vibe to the
striking insistent improvised “pungi” airs.
Bubbly plucking under dry fuzz soaring. Liner
notes beckon you as surely as the playing here
does. Skin and sin shedding. -Thurston Hunger
Grupo Naidy – “Arriba Suena Marimba : Currulao Marimba Music From Columbia ” – [Smithsonian/Folkways]
Outstanding call-and-response vocals over a migrated marimba.
Liner notes detail the history of the African marimba finding
roots in the rich soil of Columbia, soundwise it just has a
sweet, cascading sound, especially when the voices drop out
and the marimberos drift from the melody for a few bars,
scurrying up into quick cloud runs, and then descending back
down into the groove. I can see reggae fans getting into this
album, even though its more of a calypso twirl, still the ever
insurgent elation of the repeated rhythm should connect. Plus,
singing often has a kind of raspy, sour, throaty timbre (check
out “La Maravilla”). Not too far for a rastafarian to journey.
“El Botellon” is a beauty to pour open the album, but the same
underlying music is raised above the cielo by the slightest
adjustments to get “Vamos a Adorar a Antonio” – that track is
sublime. Man, it almost converted me back to Roman Catholicism.
This release is as warm and bitter as life, and again the call
and response connotes the joy and juxtaposition of the one and
the tribe. Suenas for suenos! -El Hombre del Hambre
The sweet sixteenth release of the Ethiopiques series turns
a bit sour. Asnaqetch Wergu’s scrambling, dry clawing lyre
sounds almost like a banjo under hypnosis. Her brittle pluck
recalls the submersive gypsy sounds from “Latcho Drom.”
Her voice add a little soft honey to that, but she’s not
really singing her lungs out, instead its a steady, talky
sort of lamenting delivery. The words evidently are where
the exertion is going, her heart is on display, whether
wrapped in chains, or pulsing on silk sheets. The lyrics
are fascinating, but of course not sung in English. As a
result, our English mileage is best limited in small doses
as befits radio. Or in following along with the translations
as the lyrics are amazing wth forbidden and unbidden love
themes. “El Lehem” is one solid example. “Like Jerusalem”
(#11) has a very different potent vibe. Packaging is as
beautiful as Asnaqetch throughout the years. -Hunger
The heart after passion’s flame
Crawls across her krar
Have you ever seen a whirling dervish? Their dances precipitate a trance-like feeling in both the dancer and the observer. Personally I might get quite sick if I were to spin like that. This is their soundtrack so to speak. Lilting strings pull you up lightly by your shoulders and relieve the burden for a short while. This great collection includes outstanding liner notes educating the reader on the basis for dervish’s dance and the modal influences of the sufi music. Instruments of Sufi music include the Kanun (psaltery), Kud’m (kettle-style drums), Bendir (single-headed hand-held drum), Ud (small lute), Tanbur (long-necked lute), Kemen’e (short-necked fiddle), and Halile (turkish cymbals). Many of the tracks on this collection are used to highlight the different instruments using improvised pieces maintaining strict modal adherence. An excellent introduction to Sufi music from Turkey. — Numa
Celebratory music from the Bara section (South West area) of Madagascar. Appears to be one of many in a series put out by the O-Cora This is all natural stuff comprised of hand claps, voices of all types, men, women, children, supported by the local instruments such as flutes, reed whistles, wooden lap xylophones (that sit on your lap, and you need a hole dug in the ground for them to resonate properly; look at the pictures on the liner notes) tubular zithers; fiddles, and drums. There are lots of repetitive patterns happening with many of them verging on psychedelia. Music supports daily life events such as births, circumcision, death, etc. Highly enjoyable, and (given some minor thought and a touch of creativity) a mighty tool for your Dj kit.
This series is all about introducing up and coming African musicians to the rest of the world. Daby Balde is a former cab driver who was born into a noble family who didn’t support his musical interests. He’s from the Casamance region in southern Senegal. The southern Senegal sound is different from that of Dakar, it’s almost griot-like. Balde’s voice is slightly gruff but powerful in a very human way. The backing instrumentals are quite wonderful. AArbor
Two CD set jam packed with songs from Classic and Modern Bollywood films. The 1st CD (Bollywood Classics) starts off with an outstanding Geeta Dutt track followed by tracks from Asha Bhosle, her sister Lata Mangeshkar and the 2 best known male singers: Kishore Kumar and Mohammed Rafi. The 2nd CD (Bollywood Contemporary) is even more interesting and well, contemporary! pick your favorite and play! AArbor
Papasov (clarinet), the world’s best-known proponent of “Bulgarian wedding music”, joins with Yukanov (saxophone) and a handful of others (accordion, guitar, bass, drums) for this energetic album of traditional songs from Southeastern Europe. Possibly because of its multi-national origins, (Balkan, Turkish, Gypsy, and other influences) this style of music was officially banned in socialist Bulgaria for many years, and there were no public performances; yet it thrived, fortunately for us, in private settings such as weddings and baptisms. This music is full of rapid, twisting melodies and crazy key changes, usually at a full-speed-ahead tempo, and these players are mind-blowing virtuosos.
French re-release of essential mid-70s Ethiopian classic. High-powered Afro-Arabic jazz grooves with guitar, bass, organ, drums, percussion, flute, and some of the craziest sax lines I’ve ever heard. In front of the band, Ahmed sings so passionately I don’t need to know the language to know he means every single word he sings. My favorite tracks are A2, A4, B3, and B4, all packed full of dark funk in those weird Ethiopian scales, with the band playing as if possessed. B2 is also great, but it’s slower and more of a sexy trance-like thing. The rest of the tracks are more “pop” sounding, and they’re cool too, but I like this music best when it sounds like Sun Ra and Nusrat Fateh Ali Khan sitting in with Ricky Ricardo’s orchestra, and they’re playing in your garage. Five stars.
Guadalajara’s Yxayotl demonstrates that the native music of Mexico did not begin with the trumpets and violins of mariachi. Ancient musical styles of Mexico’s Aztec people, as well as the Mayans of Central America, come to life here on authentic handmade drums, clay flutes, rattles, and rainsticks. Surprising similarities sometimes to African drumming, voodoo ritual trance music, and, if you squint your ears, there’s even a hint of Residents-like bad dream soundtrack. Exotic, spiritual, and weird. I love the subtle offbeat scraping on Track 2, and the muttered vocal offering to Mother Earth on Track 9.
Khan was a brilliant Pakistani vocalist in the Qawwali tradition, fusing the style’s traditional lyrics with new melodies and rhythms. Despite the sadness and longing in the lyrics, the sound of this ensemble is uplifting and seemingly joyous. Tabla, handclaps, and harmonium set the mood while a chorus of male voices (his party) toss the vocals around. The master’s sandpaper voice dazzles with its rapid-fire percussive technique, and then, oh man, it just takes off and soars in high arcs. Sometimes does both of those at the same time. Gives me goosebumps. His death a few years ago was a great loss, but thanks to this posthumous series on Real World, we’re still getting new music from him. An incredibly beautiful CD by a great artist.
Kiani is master of the santur, a stringed instrument seemingly identical in appearance, sound, and playing technique to the hammered dulcimer one finds in rural Appalachian music. There are also Iraqi, Turkish, and Indian versions of the instrument. However, the tuning modes used here, carefully described in the liner notes, give these pieces a unique Persian flavor. Delicate, intricate patterns repeat and then vary, raga-like, as each piece slowly develops. According to the liner notes, Kiani has been almost single-handedly keeping this particular style of traditional music alive; there were never many master players and they eventually ran out of students to teach. These 1979 recordings transported this Western listener pleasantly to another place and time. Lovely.
You’re in your garage and you hear strange sound leaking
out of a floor crack over there in the corner. You grab your
trusty pick axe and chip away at the crack, finally finding
deep beneath the floor a secret chamber with these bands
playing an amazingly engaging style of 60’s pop. You start
dancing, drinking and pass out. Come morning you see this CD
laying on the floor across the original crack. I got this
volume a long time ago, shortly after adding Vol I to the
KFJC library, gotta say the obvious covers (#1 “Hey Jude,”
#5 “If You’re Going to San Francisco”, #11 “Whiter Shade
of Pale”) don’t really float my boat like #16 and #8 do. I
think the latter was used in “City of Ghosts” (a film that
feels like it was built around Matt Dillon’s love of this
brand of Cambodhissatvan pop music…). Check out the ska
charge of #4. maniac laughter over soul on #6! Guitar urgency
often drives these hits, along with some of that mesmerizing
organ, and the now-recognizable keening vocals. Viva Ros
Sereysothea! While others may like the ghost-Penh’d US covers,
I suspect you could toss a killer party by loading up all
(now four) of the Cambodian Rocks collections, and letting
shuffle create a sexy, smoky vibe that is at once familiar
and exotic. I only wish there were secret garage chambers
that could have protected most of those slaughtered by the
Snapshots of intoxication from Greece and the first half of
the 1900’s. Intoxication by song, dance or drug; pumped into
women and flowing out of their souls though their pipes.
Flowing slow and sweet like ouzo. Underground Greece had
tunnels to Asiatic cultures it appears, definite Turkish
and Iranian influences give these tracks a sway, a powerful
pining. Just listen to Marika “Politissa” belt out her
“Secret Pain.” “Cool Gal” if recorded with a slightly higher
(or lower) fidelity today would be a huge psy-folk hit. Many
of the tracks have weeping violin moving in the shadows of
the vocalist, edging in and out of tune, and multiplying the
passion of those songs. Not all the wild women of Greece
were gathered up by the gods, some of them fled in gypsy
packs, behind brothels and smoothly as smoke through the
backrooms of the opium dens. These mighty meraklous achieve
immortality without any deus ex machina nor Zeus in bullish
form, but via their songs. This disc is their oracle, viva
the women of rembetika!!
Another ear-opening world music/sound collection from Sublime Frequencies (may they never run out of remote people and places to document!). This time we’re in a town in the mountains of Tibet, with vocals, instrumentals, and field recordings. Featured are the erhu, a 2-stringed Chinese violin, and the san xian, a long-necked 3-stringed relative of the guitar. The track titles generally tell us what to expect (“Father/Son Vocal with Erhu”, “Streets Of Lhasa”, etc.). The longest track, #10, is a field recording, described as a group of monks conversing but to me sounding far rowdier; I was picturing a drunken, high-energy card game or something. I also don’t quite get #13, which is titled “Train” but sounds more like a stuck record. Whether one understands what’s going on or not, everything here is well worth a listen. Speaking of that father/son duet, you’ve gotta hear this 3-year old boy singing (#1 & #11)? no cute kiddie warbling, this child brings it, belting it out with unbelievable conviction. #19 is a 9-minute field recording with soft singing and bird sounds. A pleasant way to end our visit.
Nusrat Fateh Ali Kahn, Pakistani master of Qawal, traditional Sufi music, was a musical giant who influenced many, started and ran a school, explored. Lots of information on the CD jacket about him. These early tracks have minimal instrumentation, dominant vocals with occasional accompanyment. Vocal improvisations here are in a way familiar, but more extreme and raw than are heard in his later works. This will be a treat for listeners familiar with his more popular works.
Tracks on the first CD (20, 30, 20 min) are from 1978 and have the most raw character to the vocal flourishes.
Tracks on the second CD (13, 15, 15, 30 min) reveal increasing discipline with the last track being a sombre piece with a deliberate feel.
This is a follow up to the excellent Nao Wave: Brazilian Post Punk 1982-1988 collection that we added to the library earlier this year (A/CD). It is also released by Germany’s Man Recordings.
On this EP four tracks from the Nao Wave compilation are remixed and reworked by four European electronic artists: The Glimmers (Belgium), Munk (German), Tim ‘Love? Lee (England), and Marco (German).
The artists take what they want from these songs, editing them with an eye on the dance floor. The resulting sound is familiar and strange, retro and futuristic at the same time. Thanks to Man for finding these recordings and showing that they are still relevant.
This is another great release by Chicago’s Numero Group. This time they have dug up some rare and/or overlooked music recorded between 1960 and 1980 in Belize, a Central American country about the size of Massachusetts.
The compilation takes it’s name from the national dish of Belize – Boil Up, which is a mixture of ingredients like pig’s tail, banana, yams, fish all boiled together in a pot. It’s an apt metaphor for the mix of genres found on this release: roots reggae, Stax soul, funk, folk, calypso, latin, disco, and anything else they can get their hands on. Instrumentation varies from song to song, but check out the organ on the Lord Rhaburn tracks and the trumpet and trombone solos on Soul Creation‘s Funky Jive Pts. I and II.
Notable are the three covers on the CD: Shame, Shame, Shame (originally by Shirley & Co.), Back Stabbers (originally by The O’Jays), and a strange and wondrous version of Theme from The Godfather that would at least make an excellent bed. Two other favorites: tracks 4 and 15, both by The Web.
Instrumentals: 1, 8, 13, 14
Covers: 7, 9, 14
This is a CD of hunting-related music made by musicians in an area of western Niger called Dallol Mawri. It was released this year (2005) by Radio France’s label Ocora.
Four musicians (two masters and their apprentices) are recorded singing and accompanying themselves on the gurumi, a lute-like instrument containing three strings (high, medium, and low pitches). In all 15 songs, the lead musician begins a phrase and the apprentice joins in to finish it. They are banging away on their gurumi throughout.
The musicians and their songs play an important role in the success of their village’s hunting. There are songs that praise particularly strong and agile hunters, suck up to the leader of the hunt (and his assistant), and remind hunters that the whole village is counting on them. Interestingly, magic plays as important a role in hunting as weapons, so there are a lot of songs about magical animals and genies. Most songs begin with praise to Allah.
On the chance that you don’t know Hausa (the language of this region), parts of the lyrics are included in the excellent insert booklet. Some of my favorite lyrics:
‘You’re the only one who can saddle a lion and ride it without a problem.’
‘You who kill wild animals like tame ones?
‘Whoever knows the true worth of a musician must know us/For we’ve performed in Senegal?
‘Shooting from far away leads to uncertainty?
‘You know I don’t eat lizard/That’s women’s food?
‘In this world you’re only loved if you’ve got something?
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