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Famoudou Don Moye: The African Tapes

Audio Samples

>Mobimbirutile
>Angklung Okro
>Do You Go to Bago?
>Backe Backe Kuchen
>Akarakuru
>Ghosts
>Post-Ramadan Exhausters
>Kamsar
>Yabom Kamara
>Mohawk
>Bo Oh Bo
>Rainbow's Over, The
>Conakry Overtones
>Go Down Moses
>Xongly Plus Monro
>Réveiller le Belleville
>Pink Pepper
>Panjebo-Ta
>Mothers
>Please Come to the Stage

Track List

>Mobimbirutile
>Angklung Okro
>Do You Go to Bago?
>Backe Backe Kuchen
>Akarakuru
>Ghosts
>Post-Ramadan Exhausters
>Kamsar
>Yabom Kamara
>Mohawk
>Bo Oh Bo
>Rainbow's Over, The
>Conakry Overtones
>Go Down Moses
>Xongly Plus Monro
>Réveiller le Belleville
>Pink Pepper
>Panjebo-Ta
>Mothers
>Please Come to the Stage

Album Remarks & Appraisals:

Featuring John Tchicai (saxophone), Famoudou Don Moye (percussion), and Hartmut Geerken (various instruments). CD originally released on Bill Laswell's Praxis label includes 8 bonus tracks.

Album Reviews:

The Wire (5/01, p.76) - "...There are some genuinely stirring moments, like when the trio jammed with kids blowing gorgeous single note melodies on nothing but bits of old pipe....The deeper they got into the continent, the more mantric and ritualistic the music became..."

Album Notes

/John Tchicai/Hartmut Geerken.

Originally released as a double LP in 1987.

Includes liner notes by Sigrid Hauff.

Personnel: Famoudou Don Moye (whistling, drums, congas, percussion, bells); John Tchicai (tenor saxophone, kettle drum, percussion); Hartmut Geerken (whistling, tibetan horn, percussion, bells, gong, Chinese gong, balloons, waterphone).

Recording information: West Africa (04/08/1985-04/26/1985).

Translator: Isabel Seeberg.

This two-CD live sequel to Cassava Balls (Golden Years of New Jazz 4) captures the flavor of the trio's tour of Sierra Leone, Guinea, and Liberia in the spring of 1985. The exquisite percussion of Famoudou Don Moye (of the Art Ensemble of Chicago) and Hartmut Geerken colors every tune with a Dionysian joy. John Tchicai blows hard and convincingly, as he belts out simple riffs and improvises melodically and passionately. Locals, including children and accomplished percussionists, occasionally join the trio, and the native influences are always apparent. The eight-page booklet is a plus, describing the music and the circumstances of the performances. For many in the audience, this was a first exposure to this kind of music. Imagine introducing Albert Ayler's "Ghosts" to a receptive, musically virginal crowd. On one piece, the sounds reminded some of a secret religious ceremony and they fled in terror from the auditorium. There is much excitement everywhere, as Tchicai builds tension through repetition and Moye and Geerken fan the flames, generating intense heat. Some may find the emphasis on percussion and little instruments tiresome, but there is a unique enlightening quality to the bells and whistles that engulfs the saxophone in a meditative cloud of vaporous cacophony. ~ Steven Loewy



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