A latter-day release I did not have until recently: The Source (Le Son Du Marquis, “Recorded in 2010”). I pick up whatever I run across by this, uh, “outfit,” because, as much as any performers I know, their works all sound the same but the more you listen the more each has its own language. Obvious this was worked on and worked on, until leader Bachir Attar says, “Let’s go — this is a set.” (And who can resist titles like “Hadra of Sidi Amed Sheik (music for healing sick people on Friday at the tomb of the Saint)”?)
Nearly every time I listen to the Master Jajoukas, I think of the late pioneering music critic and musician Robert Palmer, because the one time I met him, he was sitting next to use at a Jajouka concert in Harvard’s Saunders Theater (incredible acoustics, what a treat). After the show, I introduced myself and tried to ask him about not just Jajouka but his recent Rock & Roll: An Unruly History and even Deep Blues, one of the most profound and enlightening books about the South and that more-defiant-than-sad music from there. He was pretty grunt-and-nod in a sadly too-short exchange, but I now understand he was quite ill by then (did not last all that long after) and wanted to get backstage to talk to the musicians. Sorry, Bob Palmer, that I did not get to tell you how much Insect Trust and Hoboken Saturday Night changed by life.
I’m gonna come out and say it — most years there’s at least one wonderful record I hear but cannot explain satisfactorily. In 2018, it’s Minor Empire, Uprooted (World Trip).
Here’s the scoop.
Go hear them if you can.
But pick up that CD for sure.
My ideal political and fusionist international performer. I snatched up everything I could find by him and he was a regular on the house soundtrack. I could not begin to improve on this guide to his albums, not least because I agree with nearly every point. Stinks to lose the fighters. Do a show with Joe Strummer in Paradise tonight, Rachid. He was seven years younger than me.
The last time we saw him perform was at the New England Conservatory, the same week as the Marathon Bombings. He stopped in the middle of the show to announce that one of the supreme powers of music was its ability to heal and that he was consciously setting out to do that this night.
He worked magic. We came out of the hall with soaring spirits, an enormous dark weight lifted from us. Randy Weston healed us like no other performer at an essential moment of anguish. Eternal thanks and peace.
This is your prime starting spot. Little Niles, Live at the Five Spot and (esp.) Uhuru Afrika are masterpieces. Uhuru changed my head forever in that I heard jazz as African music like never before.
Maybe no surprise, this is the second stop — which shows you how he got to my first pick. Jazz a La Bohemia and Solo, Duo & Trio feature tremendous lineups and not a weak moment of playing.
This is the less-well-known recommendation that keeps exploding and expanding with that collective soul strength. Will make you spin around the room. Play loud.
I think Tanjah was the album that introduced me to Weston, maybe from a review by Robert Palmer. I don’t know how many of his records I own — many, many, many.
Excellent, information-packed obit.
My favorite African Jazz Pioneers album is Live at Montreaux Festival. The S/T debut is my second pick.
A protester. A poet. A fighter. A supreme singer.
Here’s what I wrote about her.
The NY Times obit.
Goblin, The Ultimate Collection (Pick Up Records)
The first disc is Goblin for the Dario Argento World and it is continuously weird and wondrous and flowing — the perfect Gothic Prog. You wonder if he told them what he wanted to hear and that shaped what came out. An enveloping atmosphere with distorted sounds and faces and moods that keeps you fascinated and a little scared.
Disc two, The Other Worlds of Goblin, which is part soundtracks and part not is way, way more uneven. Good chompy tracks (“Stunt Cars”), but clots of Europrog with bad rhythm section and even a few quite corny cuts. (Never think of doing anything “C&W” again, okay guys?)