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by Francesca Nemko and Lynette Diaz
Afreecanos, Omar Sosa, Ota Records
This is Omar Sosa’s 18th recording as a leader, and seems to bring together many of the elements he has long incorporated into his work. Born in Camaguey, Cuba, he has traveled extensively. Heavily influenced by his love of jazz forms, nevertheless, the multi-cultural aspect of his personality is evident here. Surprising to me is the fact that this is not an uptempo outing, but rather a very laid-back and sensitive exposition of his own compositions.
Bringing together musicians from Africa, Cuba, Mozambique, Senegal, Mali, Guinea, Morocco, Brazil and France, there are numerous unpronounceable indigenous instruments featured, such as the kamelengoni and ngoni, both played by Christophe “Disco” Minck (from France) and the zabar and dun dun, which presumably originate in Senegal, where their player, Ousseynou Piagne Epa is from. I’m not sure on which tracks these delightful sounds occur, but I know they come up pretty frequently. What I do recognize, however, is Sosa’s acoustic piano, which is heard on every number. He is also the composer of all the pieces and many of them are dedications to various people and events. For instance, “Light in the Sky,” is a homage to Mothers of the world and includes a soulful flute and vocal, probably by Mola Sylla from Senegal..
What struck me most, though, about this CD is Sosa’s remarkable orchestrations, as he incorporates contemporary western instruments such as his own acoustic piano and an excellent horn section. Listen to Sosa demonstrating his jazz sensibilities on “Ollu,” for instance, with the horns swirling around him, in and out of his playing and a “griot” telling of “Ochun, the deity of love in Santeria.”
“Lyada,” another dedication, this time to Sosa’s daughter, introduces a hypnotic chanting, so in keeping with the general tone of this whole CD. In fact, Sosa has said, “With Afreecanos, I have continued on the path back to the root, looking for parallels between various traditions.” I would add that he’s ably, and entertainingly, accomplished that goal.
Francesca Nemko
One, Jamshied Sharifi, Ceres Records
This new release from Sharifi was recently named CD of the Month by the venerated Echoes radio program. Born in Topeka, Kansas, to an Iranian father and American mother, at an early age Sharifi was exposed to both jazz and Middle Eastern music by his father and to the European classical and church traditions by his mother. He studied and played with many well-known jazz figures and while at the prestigious Berklee College of Music, received the Outstanding Jazz Pianist award.
In this new CD all of this preparation is brought into play, including his more recent ventures into film scoring giving this (like Sosa’s above) a well-orchestrated identity. However, here we have a more Indian and Tibetan focus, such as in the title track, where he has layered instrumentation for the Tibetan songstress, Yungchen Lhamo “to weave intricate vocal melodies” – which sets the tone for the remainder of the work; and North Indian Vishal Vaid, who infuses his performances with the ancient technique of Ghazal singing.
Grammy award winner Paula Cole, lends her fresh and contemporary sound to “My Grandfather , The Tree,” and “A Charlotte Sky.” On the latter, she offers a floaty, dreamy wordless vocal, except for repetition of the title – all the while accompanied by what sounds like a thumb piano and some other distinctly African-oriented instruments.
Another singer, Sussan Deyhim of Tehran is heard on “Ghanima” and “Setaa”, this last having a Mideastern rhythm using the oud and other exotica.
Another familiar name would be Abdoulaye Diabete, whose haunting voice is heard along with Yungchen Lhamo, as well as the very moving “Darfur is Burning,” described by Sharifi as “a response to our and the world’s inaction in the face of what can only be called genocide.” Another example, I feel, of the power of music to heal and simultaneously bring such disturbing events to the larger picture.
Sharifi has noted that he “wanted to put together singers and musicians who wouldn’t normally perform together.” He said he was “intentionally disrespectful of world music ‘boundaries,’ hoping that the spirit of cooperation and mutual respect would prevail.”
It does, most eloquently.
Francesca Nemko
“Ilembe: Honoring Shaka Zulu”
By Ladysmith Black Mambazo
(HUCD 3133)
Ladysmith Black Mambazo is no doubt one of the world’s most beloved vocal performance groups. Assembled by Joseph Shabalala in the early 1960s, the group has experienced a musical journey that has taken them from their native South Africa and placed them on the forefront of the contemporary world music scene. With their fusion of musical heritage and a message of social peace, Ladysmith has garnered mass appeal from legendary musicians, political leaders, and individual music lovers from around the globe.
Their latest album is a tribute to Shaka Zulu, the iconic South African leader who united numerous regional tribes in the late 1800s and became the first king of the Zulu nation. Ilembe means, “The Greatest Warrior,” and the album’s goal is to take Zulu’s story and place it into a modern context. With translations in hand, this listener was moved by how the messages on each track resonated with our contemporary world situations.
On “Let’s Do It,” Shabalala explains that although everyone says politics is a dirty game, it can be channeled to do good. He is positive that together we can make goodness happen and show the world that we can succeed. On “O Mmu Beno Mmu” (“Somebody and Somebody”), Zulu’s intention of unification shows itself again. The significance of this track is to show that one person can do something better when working with someone else.
One of my favorite tracks is “Iphel’ Emasini” (“A Cockroach in the Milk”) because it incorporates a Zulu proverb to solve a problem many people create for themselves. The proverb means, “There’s a beautiful thing in front of you, but there is a cockroach on top of it.” The solution is to not concentrate too much on the negative, or you’ll be afraid to enjoy life.
Overall, the album is a peaceful one. The group’s collective voices and harmonies are incredibly polished, and this makes for a wonderful transition into a state of relaxation. The blending of South African musical roots with lyrical calls for social unification prove that Shaka Zulu’s message has not been lost after all these years.
Lynette Diaz
Aine Minogue: Celtic Pilgrimage
(Sounds True M1231D)
The novelist Marcel Proust once wrote, “Steamships insult the dignity of distance.” Indeed it seems the hurried lives that make up this modern world have caused many of us to focus on product instead of process. In doing so, we miss the wonderful insights that come with everything that happens in-between. Perhaps that is why through the centuries people of all faiths have made pilgrimages to seek healing, blessing or self-connection. This album, put together by Irish harpist Aine Minogue, is a beautiful combination of instrumental music and lyrical poetry that captures the spirit that motivates and carries us along our own spiritual journeys.
Minogue’s harp coalesces with the cello, flutes, percussion, keyboards, guitar and gentle vocals to produce a musical body that feels nothing less than magical. From start to finish, the album follows its own path by reflecting on each step of a pilgrimage. The first track is entitled, “The Gathering,” and is the summoning of forces to prepare for the journey ahead. The percussion in this song is addictively inviting and exciting. The last track, “Mathair,” is a traditional piece about reaching for our mothers and then passing our history to the next traveler. This suitably reminds us that the journey never really ends, but instead is more like a circular evolution.
The meat of the album comes, of course, with the middle steps. They include the very introspective, “Blessing,” which combines a soft vocal with Minogue’s harp to create a very angelic sound. Lyrically, the song is about the moment we leave for our journey and the pull of separation from that which we have known. My favorite track is “Alchemy,” which is also the most upbeat. The blend of heavy percussion and chanting make for an uplifting piece about becoming bold through our adventure and allowing ourselves to celebrate loudly about it.
I’ve always enjoyed Celtic music for its ethereal quality. Though very delicate and refined, it is by no means insubstantial. Albums like this one are wonderful reminders that music and spirit can be uniquely intertwined not only to give listeners a medium for connection with others, but also with themselves.
Lynette Diaz
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