I'm not the kind of person who gets obsessed about anything. OK, women's
open-toe shoes, but nothing else I can think of keeps my pint of blood percolating
very long. But my nine miles of nervous ganglia have been suddenly possessed
by the idea of the Internet, even though I've yet to go on-line--and despite
the level-headed counsel of the pea-sized area of my brain where my consciousness
usually resides.
There's nothing for you there, the voice cautions. It's a technology in
search of consumer usefulness, like CD-ROM. A fad. Still, the idea of logging
onto computers in Helsinki and Jakarta, for no other reason than the capability
of doing so, clogs the dream content of my waking and sleeping states. When
a client at work asks me how best to state the issue of job security in
a hospital publication I'm editing about an organizational restructuring
process that will cost huge chunks of the support staff their jobs, I hear
myself vaguely answer, "Oh, that sounds okay"--because I'm really
wondering whether I need both FTP and Telnet software for an Internet SLIP
connection, or if I should seek a PPP hook-up instead.
This extended stimulation has put me a bad mood. I'm loathe to share my
attention with any subject other than the Internet, including this column.
To make matters worse, my blood sugar dipped precariously toward the teeter-totter
edge of depression when the postman handed me the 37th compact disc in six
months heralding itself as "trance music," a term like "global
village" so meaningless as to denigrate the concept of cliche. I meant
to throw Trance Gong by Gamelan Pacifica
(?What Next? Recordings) immediately into the might-listen purgatory pile,
but because the baffling relationship between Gopherspace and Archie servers
distracted me as I packed up for a quarter-day at the office, I accidentally
tucked the disc into my lunch pail instead. At least it will be good for
blocking out the incessant prattle around me, I decided an hour later clapping
headphones to ears in the middle of a client meeting. It was much, much
better than that.
In no time at all, Trance Gong transformed itself from diversion
to wrap-around experience, bathing the chilly marble walls of the Michigan
National Bank outside the conference room window in awakened meaning. The
carved cross-like fleur-de-lis. The huge arched windows only missing the
stained glass. The Indian trader sculpture at the cornice standing in for
savior or saint. I was seeing, I suddenly realized, an authentic stereotype
brought to fruition in stone and grout, an honest to God Temple of Commerce
so obvious I couldn't believe I'd never noticed it before. How could such
a blasphemous edifice exist for decades in Grand Rapids, I wondered, hotbed
of fundamentalism, predestined world headquarters of the Christian Reformed
Church and home of endless Grand Rapids Press editorial page letters
delineating the evils of Sunday supplement bra ads, the pagan perils to
the soul of Halloween revelry, the Satanic agenda of new age puppet shows
performed in elementary schools to teach children to relax (i.e., meditate),
and the filth of most non-Biblical literature. But not a word ever appeared
in any irate letter about the abomination on the Monroe Mall clearly revealed
to me by interlocking gamelan puzzle parts of this brilliant contemporary
music by a Seattle-based ensemble at the Cornish College of the Arts directed
by Jarrad Powell.
No mere academic exercise is this, even though the integer-based approach
to imbal and kotekan rhythm techniques evokes a Balinese computer furiously
downloading the catalog of the human genome project. Innovations include
signal processed harmonization of the traditional suling bamboo flute on
the Jon Hassell-flavored "Small of My Back," a non-traditional
aluminum gamelan used on three selections, and the brain bursting entry
of Roto-Toms paradiddles over tuned drum cloudbursts on the title cut. Still,
except for the sweet and squeakless erhu spike fiddle solo on "Gending
Erhu," first world smarty-pantsing is subordinated to the all and everything
cosmology of the gamelan itself. It may not precisely be trance music, but
as I focused on a single metallophone figure in "Rain" and tried
to follow it through all its intricate permutations, the complexity of the
underlying and overarching layers in one sense intensified but in another
shrunk to reveal a peek at the huge homogenous structure. I have no idea
what makes this complicated music tick-tock, but mystification here is truly
bliss.
Equal parts gnostic and gnomic, Kiss Closed My
Eyes (Improbable Music) by Canadian singer Laurel MacDonald
reproduces the dark atmosphere of Bulgarian vocal music without attempting
to clone the form. If Trance Gong maps out a dizzyingly intricate polytheism,
Kiss lurks in the infinite blank space between everyday objects where the
only transcendental possibility is the echo of one's own voice. Appropriately,
the beautiful opening cut, "Kyrie" finds MacDonald crying out
for God's mercy in the cavernous claustrophobia of Banff's Tunnel Mountain
Water Reservoir. Chilly overdubbed harmonies in the choke-throated Balkan
style up the miserere ante as ominous bass rumbles below. Collaborator and
world shaper Philip Strong--producer, engineer, and mixer--distills what
might loosely be termed an instrumental by assembling samples from the rest
of the disc and boiling them in nitrogen on "Aslumber." But his
greatest contribution is envisioning an elaborately processed electronic
environment which owes more to the glacial pace of continental drift than
to technopop--the brief eruption of drums on "Oran Na H-eala"
and the title cut are startling--and which is too far abstract for ambient
listening. Hardly a mood breaker, Kiss requires a solid step down
from the workaday just to meet the few sharp peaks that poke above ground.
And while MacDonald's voice and arrangements are extraordinary, Kiss
also demands a playback system with robust bass response, since so many
of its pleasures are nearly subsonic. [P.O. Box 16010, Toronto, ON, M6J
3W2 or 1-800-JOE-RADIO to mail order]
Speaking of producers, I miss the hands-on influence of Guy Trepenier, who
has been kicked upstairs to executive producer status on Kashtin's
largely self-directed Akua Tuta (Tristar
Music). Except for the signature loons and eagle on the title song, gone
are the sound collages that gave the Northern Quebec duo's first U.S. release,
Innu, a slice of Canadian geography to accompany the Innu-language
songs. Gone too is the album-rock frame of reference in favor of a sleepy
Nashville kick, and though this never was a band about power chords, their
earth-love now reads as complacency, leaving half of the message behind.
Closest we get to a whisper that First Nation concepts aren't exactly the
currency driving the Americas is a heartbroken vocal by Claude McKenzie
on "Nuitsheiuan" (My Friend) and terse fretting from the Dire
Straits school on "Ne Puaman" (My Dreams). All else is Kashtin's
instantly recognizable melodic gift wrapped in seductive production that
misfires by doubling up on emotional cues when suggestion is enough. If
becoming world-class folkies means conveying an inescapably broad message,
Kashtin was better served by an insular '70s vocabulary that at least had
bite.
Kef Time's cutting-edge merger of Armenian and
American styles on their eponymous Traditional Crossroads label cd was way
ahead of its time when originally released in 1968 by Kef founders' SaHa
Records. Like klezmorim who keep their traditions alive by regenerating
rather than embalming them, the Kefsters sharpen lessons learned from first
generation Armenians fleeing the Turkish-Ottoman Genocide of 1915 by inventing
the fiercest, most breathtaking approach to music from the region yet. Though
American influences are nowhere obvious, rock dynamics lurk in the fusillade
kick of Buddy Sarkissian's multiple-dumbeg backbeat, jazzisms waft through
the taksim improvisations that send each selection to oxygen-starved heights,
and udist Richard Hagopian brings bluegrass and flamenco fingerpicking techniques
to his mastery of the middle eastern lute. In its pure folk form, Armenian
music is a rich mixing pot of themes appearing in everything from Yiddish
to Egyptian to Russian repertoires, and Kef Time widens its sources'
embrace on this 72-minute disc of passionate, highly ornamented songs. Listen
in the late night hours at your peril to this aural triple shot of espresso.
Okay, so I'm at this party where the host has bullied me into bringing "some
of that foreign music you listen to," and I figure that the easiest
way to finesse a no-win situation is to cue up Papa Wemba's latest
RealWorld release, Emotion. As the disc
opener, "Yolele," kicks in, I'm positive that the combination
of Wemba's extraordinary voice, the sweetness of his back-up singers, and
a straight-ahead melody will make an instant convert out of everyone in
the room. But I hear grumbling from the direction of the cheeseball on the
order of, what is this, cha-cha music--as if that were even a negative.
"Mandola," a powerful dance track that flirts with the suburbs
of soukous, gets a few toes tapping, but I can't tell if it's out of admiration
or impatience. Faces light up, though, as an English-language chorus introduces
"Show Me the Way," and I row with the momentum by pointing out
the "Band On the Run" synth doodle. "You know, this guy isn't
half bad," ventures a composite guest as Wemba tries on the soul classic
"Fa Fa Fa Fa Fa (Sad Song)" before coasting into the lovely mid-tempo
ballad, "Rail On." But by this time it's me that's smiling wanly.
"Let me get this straight," I begin as the mythical partygoers
dissolve into my own living room furnishings. "We've got flashes of
inspired Afropop that the mainstream crowd won't like--and mainstream songs
that will probably appeal only to steadfast Papa Wemba fans. I smell a big
hit." Everyone agrees.
I knew that Cuban acoustic music had a life of its own, but nothing prepared
me for the strange metallic breathing of the marimbula on !Ahora
Si! Here Comes Changui (Corason/Rounder). Changui, an acoustic guitar-led
song form originating in the province of Guantanamo, dates back as far as
1860, and compared to the smooth ride of its relative the son, is something
of a bucking bronco. Tres guitar and bongos confound expectation by flip-flopping
roles. Plucked guitar figures maintain the pace while fragmented bongo bursts
explode in the background, leaving the job of rhythmic glue to the lowly
scraper. When the guitar briefly abandons its timekeeping role for a melodic
solo, as on Grupo Changui de Guantanamo's "Fiesta en Cecilia,"
the entire song threatens to fly apart. Deep in the background, the marimbula
bass--a cross between a giant thumb-piano and a packing crate--adds its
own rumbling encouragement. A peculiar combination of physics and acoustics
transforms the vibration of the stiff metal keys into the wheeze of a monstrous
bull or the groaning of an ancient water pump--listen for it behind the
vocals on "Mi Son Tiene Candlel" or "Laos, Cambodia y Vietnam."
Five groups from Guantanamo are featured on this exceptional disc. La Familia
Miranda contribute the helpful "Nengon," a logically titled example
of the nengon form where a hypnotically regular flow of instruments provides
a rare steady-state view of the elements of changui that scatter in every
direction on the other cuts.
Having begun this very day gathering up the shredded remains of our pet
duck, Martha, following a nocturnal visit from a propane tank-size raccoon,
I was hesitant to test another Corason label release, Essential
Merengue--Stripping the Parrots. This disc of rustic dance tunes
from the Dominican Republic spotlights the style of the semi-island's national
music known as perico ripiao, meaning stripped or plucked parrot and named
after the main dish served at wild country parties--none of which will be
attended by my African grey Timneh, Stanley, thanks so much. A particularly
frenetic bunch, the perico ripiao bands tumble through songs of moderate
European influence, more melodic than heavy African roots style merengue
but also more essential and stripped down (there's that word again) than
commercial merengue. I suspect that at many live gatherings this highly
charged music is a blur of overamplified vocals and accordion, but recording
engineer Enrique Ramirez de Arellano pushes the percussion instruments to
the fore--tambora two-headed drum, guira scraper, and a marimba wooden-box
bass like the one used in changui--while waving the clamoring accordion
politely into the background. The result simultaneously emphasizes the delicacy
and power of the cross-rhythms while leaving plenty of open space for vein-bursting
vocals.
Several subsets of merengue appear on the cd, though I can't tell the merengue
apambichao "Maria Moreno" by Rafaelito Arias y su Conjunto
from Los Cuatro Alegres Dominicanos' pambiche on "Que Linda
Mama." In fact, I can barely tell those songs apart. Just to confound
the listener further, "Cana Brava" and "Compadre Pedro Juan"
are both simply labeled "merengue." But the former, performed
by Sexteto Peravia and led by clave and tres guitar, resembles a souped-up
Cuban son montuna, and the latter by Rafaelito, etc., adds a burbling
sax to the expected merengue chaos. As on the preceding disc (see above
if you thought you could skip it), in special consolation to greenhorns
like me struggling to unravel the tangle of melody and rhythm, a slower
style is included as a sort of deciphering device: herein, Cuarteto Hernandez's
"El Carbine," a logically titled example of the carbine. In the
end, the nutty intensity of all six featured bands renders such nit-picking
moot. But keep your plucking mitts off my pet birds.
Latin pop purists needn't fear David Byrne's guest vocal on Byrne's Luaka
Bop label's stunning anthology The Soul of Black
Peru, where tough songs from the coastal barrios replace my notions
of a nation of pan-pipers. Spurred by devotion rather than dilettantism,
Byrne launches one of the most heartfelt, unaffected performances of his
career in his take on the stirring "Maria Londo," which he reserves
for last place on the disc. The original version of this song by Susana
Baca kicks off Black Peru in an elegant fever of percussion and guitar,
leading into the cumbia-with-Andean-guitar antics of Manuel Donayre's playful
"Yo No Soy Jaqui." The diversity of Afro Peruvian artists and
styles is impressive, as is the prominent role of women in a music which
until now has rarely reached North American ears. Stand outs include "Toto
Mata," in which Peru Negro's stabs of sassy horns and salsa piano riffs
barely contain the wrought edge vocals by Lucila Campos, and the same band
minus vocalist Campos sounding like a carnival parade of percussion on the
fat and juicy "Son De Los Diablos."
Van Morrison can serve up Celtic soul, so Vartiina shouldn't be denied
a shot at Finnish funk on their third U.S. release Aitara
(Xenophile/Green Linnet), even if the honking brass owes less to James Brown
than to an angry goose. I'm not sure the experiment succeeded exactly as
intended. "Mie tahon tanssia" (I Want to Dance) hits the dancefloor
with the grace of baby elephants on parade, "Tumala" seeks shelter
from estrogen-laden calisthenics in a leisure-suited Kenny G-derived sax
swank that makes a right turn for the roller derby midsong, and the extraordinary
opening cut "Katrina" stakes a claim for a brand new genre of
high-speed recitation rhyming which I propose from this day forward be known
as yap. It would be crazy to call this a clomping around a misstep, though.
The teeth chattering enthusiasm of the four female vocalists' manic Urgic
folk-pop bulldozes both the subtleties and vulgarities of their traditional
instrumental accompanists. Thus the decision to scatter the pieces in the
air emphasizing differences rather than laboring over neat fusion provides
the fun of the wildest Indian film soundtracks as well as surprisingly convincing
moments. "Niin mie mieltynen" (The Beloved) transcends the singers'
nasal passages and reaches squarely for the heart, helped along by Riita
Potinoja's simpatico accordion and Antto Varilo on chorded guitar. The result,
incredibly, is Varttina's most cohesive pop release to date.
It's the same stuff they were calling "belly dance music" a decade
ago, so don't pay much attention to this year's snappy moniker, Egyptian Rai (ARC Music US). These lush and snaky
instrumentals from Hossam Romzy and his Egyptian Ensemble borrow
zilch from synthesizer-heavy Algerian disco, owing more to traditional Middle
Eastern compositions filtered through Egyptian film soundtrack orchestration.
Also disregard the hype about Hossam Ramzy's participation in Robert Page
and Jimmy Plant's unstoppable world tour and avoid pondering whether Led
credentials validate or diminish the man. Because as great as the percussive
backbone of this disc may be, it's the propulsive orchestration and back
and forth yakety-yak among accordion, strings, ney flute, oud, and saxophone
that push Egyptian Rai deep into the pleasure zone. I use it as a primer
on scarce dance music from Kuwait, Saudi Arabia, Yemen, Morocco, Lebanon
and Egypt, and for quenching a thirst most recently awakened by Mambo El
Soudani, Salamat's Nubian funkfest, here recalled by jazzy excursions on
"El Ataba Gazaz." I do draw the line at the harmless New Age pudding,
"The Star Collector," wisely relegated to last cut, but who can
second-guess any move by an Egyptian willing to bill himself as The Sultan
of Swing? [P.O. Box 11288, Oakland, CA 94611]
Two historic recordings by Milton Nascimento--originally issued as
double lps in 1972 and 1978 for EMI Odeon, Brazil--have been released for
the first time in America on a pair of separate cds. Clube
Da Esquina and Clube Da Esquina 2 (a two-cd set) both grew out of
Nascimento's summer rental of a house in Piratininga with his chief collaborator
on the discs, Lo Borges, and a melange of Brazilian musicians including
Eumir Deodata, Luiz Alvez, Wagner Tiso, Flavo Venturi, Murilo Antunes and
others. I've yet to leave a lingering footprint on all three discs. Nascimento's
topiary approach to roots music leaves me lukewarm in spite of--or is it
because of--his monolithic genius. But the Esquina cds offer hours
of harmonically rich, constantly shifting songs built around Nascimento's
indescribable nine-octave voice, plus more orchestral drama than the Bee
Gees' Odessa and Cucumber Castle combined.
You're Canadian (let's say), and you've decided to take a romp through Balkan
music in the manner of Ivo Papasov's Bulgarian folk-jazz crazy quilt. But
the absurdity of the proposition seems to demand acknowledgment. So what
do you do? If you're the Angstones, you don fezzes and plug in wacky
lyrics about baklava and tribal chieftains, while sprinkling your songs
with references to Eastern European geography. After all, the 3 Mustaphas
3 made the same kind of shtick stick. But where the Mustaphas ran with the
premise of a far-flung kaleidoscopic klezmer as home base, Ontario's Angstones
aren't bouncing off their own ethnic roots on When
Ahab Met Moishe (Canal Records). Nor do they faithfully tow the
line of the disc's possibility-rich premise of soundtrack to a non-existent
film--or we could have had parody as brilliant as 10cc's "One Night
in Paris." But we still get infectious ditties such as "Wild Boar"
and "Jagomir Jagr" and--best of all--hip displacing arrangements
throughout which toss Cajun and cowboy motifs at 13/8-time dance rhythms.
Plus, the 'Papslavian' (read: Papasov-ian) work outs for Peter Kiesewalter's
accordion, Rob Frayne's soprano saxes, and the rest of the immensely talented
band hit the right excitement buttons. Good fun! [P.O. Box 57029, 797 Somerset
St. W., Ottawa, ON, K1R 1A1 or 1-800-JOE-RADIO to mail order]
It swells my heart to find accomplished musicians like the Angstones making
music with the loopiness knob turned up to 11. On Sitar
Power II (Batish Records), California-based sitar and synthesizer
alchemist Ashwin Batish messes with well-traveled American rhythms
from hip-hop ("Hi 5") to samba ("Sitar Mania") by piling
on classical Indian music complications. My favorite tracks remind me of
a strip by British cartoonist Glen Baxter, where an illustration in the
style of boys' adventure books from the '40s shows a pair of grizzled cowpokes
on horseback coupled with the caption: "'To me the window is still
a symbolically loaded motif,' drawled Cody." Similar surrealism oozes
through Batish's 18-stringed rollicking, punning bluegrass breakdown on
"Cowboys & Indians" and a summer of love shoot out with Dave
Harnish's fuzz guitar on "Surfing With the Sitarman." "Cerebral,"
a nine-minute duet with his father Shiv Dayal Batish contributing Carnatic
vocals, is the most traditional song of the disc--and still we get synthesized
mbira, drums, bass, bells, and processed sitar to spare. I can think of
few other fusion discs this amiable, and at 41:28 it's exactly the right
length. [1310 Mission Street, Santa Cruz, CA 95060]
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