Through the broader lens of sounds coming out of South Africa, the Wretched sit at the periphery. But when listening to the rage emanating through their debut album, they’re situated right at the centre of the chaos and contradiction of daily life in the country. The album captures the feeling of a generation dealing with
“The primary duty of an entertainer is to entertain. So he thinks first and foremost of making the audience happy. And in fact, the other thing about being honest to himself doesn’t have to enter into it at all. But I think when we enter into the realm of true folk music – which I
With members rooted in Chicago and New York’s underground music scenes, Je’Raf is a wildly diverse and idiosyncratic ensemble fusing Hip Hop, Punk and improvisational sounds. With Brianna Tong on vocals, PT Bell on vocals and bass, Wills McKenna and David Fletcher on tenor saxophone and trombone respectively, the band is rounded out by Ishmael
Hugh Masekela’s Live in Lesotho is a great album of celebratory music intertwined with a beautiful story of homecomings of Miriam Makeba and himself. The region of southern Africa has deep meaning to me, so while I won’t go into super detail about the history of the record, I will talk about my relationship with
Guest Reviewer: John Pietaro Composer: Benjamin Barson, Librettist: Ruth Margraff (Nejma Nefertiti, tracks 7-8) From its opening notes, US composer-baritone saxophonist Ben Barson’s suite for this “epic jazz opera” speaks of the revolutionary politics from which it is derived. With a firm grasp on the canon of liberation music before him, Barson (a student of
Aron Namenwirth’s Hurricane begins with a quiet storm gaining momentum. As sound unfolds the images on the album cover are imbued with meaning. The dark painted spirals suggest a kind of “fun house” trip to come; one where sounds bend and contort until traditional bass, percussion, and piano sounds abstractly familiar. The opening chord of
Mushroom Hour Half Hour is a Johannesburg, South Africa-based experimental music label. A quote from South African musicologist Dr. Sazi Diamini gives a look into the label’s philosophical approach to music-making, “There is no formal process as such ….. it’s an experiment that relies on the sensitivities between the players …..” MHHH outfit SPAZA is
“We aim to destroy a history … that no longer serves a purpose.” – Blacks’ Myths Black Expression is at the great place right now and even though all of it isn’t for me, it is amazing to examine all of these avenues open for creatives from the African Diaspora. Whether it is listening to
Anyone familiar with my musical taste knows that the vibraphone is my favorite rhythm section instrument. Bobby Hutcherson and Milt Jackson were on constant rotation as a youth and I’ll never part with their records. Yet, after the years I sought out other players who approached the board in different ways. Lionel Hampton (tha Gawd),
A first run through Big Ceremony’s EP only really introduces the play in balance between the synthesizer and drums, and even between technology and humanity. The ten-piece record is filled with live recorded tracks all lasting under six minutes long. With the shortest piece at about 40 seconds, the phrases, rhythmic movements, and fluidity can
