December 29, 2010

Songs of the Volcano

Papua New Guinea Stringbands & Bob Brozman - Songs of the Volcano

World renowned guitarist Bob Brozman travelled to Papua New Guinea – one of the last places on the planet to have guitars arrive from afar – to capture a sound largely untainted by outside influences; a raw, unique sound developed in isolation. The energetic and distinctive blend of voice and instrument performed by the Rabaul community’s local stringbands reflects their unfailing optimism in the face of adversity, be it war or the volcanic eruptions that have destroyed the town twice in one century, making this album truly ‘Songs Of The Volcano’.

In addition to this extraordinary album, this package features a full length, behind the scenes DVD documentary of the making of the album.

One of the few accidental, yet beneficial, side-effects of colonialism has been guitars washing up on shores all over the world. Papua New Guinea is no exception. Home to a huge indigenous population speaking more than 800 languages, it lay largely undiscovered until the late nineteenth and early twentieth centuries and hence is one of the last places on the planet to have guitars arrive from afar.

Rabaul, in Papua New Guinea’s far flung province of East New Britain, is a town which has had its share of hard times. In the same century it has been destroyed twice by massive volcanic cataclysms and once by a devastating war imposed on it by outsiders. The Tolai people of Rabaul have suffered greatly from these natural and manmade disasters and yet, somehow, have always managed to bounce back and keep their spirits high. One of the main contributing factors to their capacity for optimism is their music, an energetic and unique blend of voices and instruments performed by the community’s local stringbands.

Bob Brozman is a world expert and leading exponent of the National guitar. An ethnomusicologist fascinated by the global voyage taken by the guitar over the last 500 years, he has collaborated with local musicians all over the world.

To create Songs Of The Volcano, in his capacity as Adjunct Professor of Music at Sydney’s Macquarie University, Bob went with filmmaker Phil Donnison to five villages in East New Britain to perform with five different Tolai stringbands. The purpose of filming and recording the performances was partly to document this fragile music before it disappears, and partly to facilitate the musicians in Papua New Guinea where there is an astonishing lack of musical infrastructure.

Rabaul is the location where guitars first arrived in Papua New Guinea, and the music carries a fragile innocence and beauty reminiscent of what guitar music may have sounded like in Hawaii in 1860, or Mexico in 1830. Most music travelled throughout the Pacific Ocean on boats, with sailors leaving behind instruments and ideas to then percolate in isolation. Hence, the music on this album will seem at once exotic, yet somehow familiar. Even today, there is still very little mass media penetration in Papua New Guinea, though that is changing and makes the preservation of this raw and unique sound more necessary.

This album and accompanying film present the story of this creative collaboration, a joint effort between an indomitable group of island musicians and one of the world’s greatest guitarists. Unlike Bob’s other world music collaborations, where there is a blend of styles between Bob and another established artist, Songs Of The Volcano has Bob in a more supportive role, playing simply as a member of each band in their own style.

The creation of this project not only yielded some great friendships, an unforgettable story and some remarkable results, but will enable the musicians to continue their pursuit of a musical life.

The musicians on Songs Of The Volcano are the first recipients of instruments, strings and musical supplies from Bob’s ongoing Global Music Aid Foundation, which seeks to provide donated instruments and materials to musicians in developing countries.


don't blame this ass
for using a pass
and if it is thegoodone
just say, it will be done
if not by me, then someone

December 24, 2010

Tarzagh & Othman -Imzad du Tassili N'Ajjer

Only women of the noble or the vassal tribes were permitted to play the imzad, the small one stringed fiddle that is the symbol of Touareg society. But now any female musician can teach the instrument to any woman who so desires. The imzad is made from half a calabash or from a wooden bowl that is covered in goatskin and to which is also attached a neck that supports one string of horsehair.
 The imzad players were greatly renowned and could play many melodies, those evoking past events or the high deeds of a hero whose name they bore by the richness of their variations; they could also accompany a man’s singing and, on occasion, also displayed therapeutic powers by curing melancholy and apathy.
Good players of the imzad are today becoming ever rarer and its repertoire is inexorably becoming smaller.
the woman plays the imzad while seated, with the instrument resting on her knees, her left hand holding the “tabourit” and pressing the “aziou”. The right hand holds the “tadjaihé” perpendicular to the string.
The flexible action of the hand, together with variable light pressure on the string, are the fundamental elements in producing the sound and thus the music.

No other instrument accompanies the Imzad
It can be accompanied by hand-clapping
It can be accompanied by a solo voice
Exceptionally, it can be accompanied by two voices
In such duets, the singing is sometimes mixed (man and woman), sometimes men only
There is a close link with the warrior traditions of the old days
The music also accompanies the women when they move their flocks to new pastures [transhumance]

thanks to ibn chaaba


Fanga - Natural Juice

I must say this is my all time favourite afrobeat album, made by any of Fela's childern over the globe. Firm sound, based on Nigerian and Ghanean musical traditions form 70s', prophetic voice, engaged lyrics of re-integration of humanity and Earth (not that I understand Dioula (Dyula) in wich moast lyrics are song),are reasons why Fanga, meaning strength of conviction, should be here at spirit&spices. Their sound certanly carries the spirit of Anikulapo, and that is an another proof that Fela still has death in his pocket.

01. Crache La Douleur (Feat Tony Allen)
02. Natural Juice (Ashanti Mix)
03. Kononi (Feat Kady Diarra)
04. Ni I Matoro
05. I Didnt Know
06. Iba
07. Bolli (It is time for Juju music)
08. Noble Tree (Feat Segun Damisa)
09. Keneya
10. Kelen
11. Noble Tree (Notaliban Remix, feat Mike Ladd)

To get the Juice thegoodone is the word to say.

Fanga (meaning spiritual force in the west african dialect dioula) consists of 8 musicians that breathe afrobeat - the hypnotic fusion of funk and african traditional music as pioneered by fela anikulapo kuti in the seventies. fanga was born from the meeting between vocalist yves khoury aka korbo of burkina faso and programmer serge amiano. after an initial vinyl and cd release under the name of korbo, a live line-up brought together the promotional 6-track cd afrofanga in 2002 leading to the first album afrokaliptyk in 2004. fanga has evolved afrobeat to a new era, whilst keeping its foundation and instrumentation within traditional codes (a single infectious pulse laced with hypnotic cycles of instrumental freedom). this evolution is helped by the judicious use of electronics and held together by korbo’s unique and compelling vocal style. all this to deliver a vital and seductive message: fighting for fundamental human rights, for the right to be different, against the inequality arising from profit, against self-destruction and for reuniting humanity with the earth. in 2006, the band meets up with the record label cosmic groove leading naturally to a fruitful collaboration. ater two maxi 12″ releases (playlisted by gilles peterson, dj spinna, …..), a number of concerts and festivals (including supports to antibalas, meï teï shô, seun kuti, guem…), fanga records its new album “natural juice” in collaboration with a number of exceptional artists such as tony allen on two tracks, segun damisa (ex-musician of fela and femi) playing percussion and vocals, as well as the singer kaddy diara, the rising star of burkina faso on the track ‘kononi’. fanga is sammy devauchelle (drums), eric durand (percussion), rajaneesh dwivedi (bass), julien raulet (guitar), david rekkab (keyboard), martial reverdy (sax) and yves korbo khoury (vocals). side a natural juice “ashanti mix” (short edit) 6′22 ni i matoro 7′58 side b iba “the funkyalaafia mix” feat tony allen & segun damisa 5′19 i didn’t know 8′54 side c crache la douleur* feat tony allen (short edit) 5′35 kononi feat kady diarra 8′41 side d noble tree feat segun damisa 9′35 bolli* “it’s time for juju music” 3′00. From...

December 21, 2010

Brazilian spices...

Tania Maria

Picante/Concord, 1980


1 - Yatra-Tá - Tania Maria/Correa Reis
2 - It's not for me to Say - Robert Allen
3 - Triste - Jobim
4 - Chiclete com Banana - Jackson Do Pandeiro.
5 - Lemon Cuica - Tania Maria/Correa Reis
6 - Super Happy - Tania Maria
7 - Començar de Novo - Ivan Lins/Victor Martins
8 - Vem P'ra Roda - Tania Maria/Correa Reis


Tania Maria: Piano, Vocals
Willie T. Colon: Percussion
Eddie Duran: Guitar
Rob Fisher: Bass
Vince Lateano: Percussion, Drums

Phil Edwards: Engineer
Cal Tjader: Producer

Great stuff! Tania Maria's first few years recording in the US were some of her best – and this excellent groover on Picante features some very tight Brazilian jazz tracks, cut with a small combo of west coasters, and produced by Cal Tjader with a smooth jazzy vibe. The overall sound is nicely stripped-down, and the main focus is on Tania's soulful voice and piano. Titles include "Lemon Cuica", "Chiclete Com Banana", "Yatra Ta", "Comecar De Novo", and "Super Happy".  © 1996-2010, Dusty Groove America, Inc.


Tania Maria's debut American release helped introduce her to U.S. audiences. Joined by a quintet that includes guitarist Eddie Duran, the exuberant vocalist and pianist performs four of her colorful originals, a couple of obscurities, and a song apiece by Jobim ("Triste") and Ivan Lins. Maria's mixture of Latin jazz with Brazilian pop is quite appealing and helped make her a popular star; this was one of her better efforts.
~ Scott Yanow

Dear Scotty:
Jackson Do Pandeiro: "a couple of obscurities" ... where do you live? in a cave?!


Jazz, Pop, Latin, who cares  :)

if it's tasty we call it music :)

some more ?

December 20, 2010


The Bunun (布農), also historically known as the Vonum (The Island of Formosa Past and Present, James W. Davidson - e-book), are a tribe of Taiwanese aborigines and are best-known for their sophisticated polyphonic vocal music. They speak the Bunun language. Unlike other aboriginal tribes in Taiwan, the Bunun are widely dispersed across the island. In the year 2000 the Bunun numbered 41,038. This was approximately 10% of Taiwan's total indigenous population, making them the fourth-largest tribal group. They have five distinct sub-tribes: the Takbunuaz, the Takituduh, the Takibaka, the Takivatan, and the Isbukun. more at

David Darling & the Wulu Bunun - Mudanin Kata

This collaboration between the Wulu Bunun--amateur vocalists from the Taiwanese region of Wulu--and cellist David Darling is no average "world music" project. While albums like BUENA VISTA SOCIAL CLUB or Ry Cooder's duets with Malian guitarist Ali Farka Toure have the polish and overall sound of contemporary North American music, MUDANIN KATA is comparatively unadorned, maintaining a somewhat indigenous and "naďve" sound. The Wulu Bunun consist of both children and adults, and their unusual choral sound may remind some Western listeners of gospel, field hollers, and campfire sing-alongs. The harmonies, though, are utterly distinctive.

Darling's cello joins the Wulu Bunun in an unobtrusive manner, adding bowed backing or simple, repeating figures, or arpeggios in a way that blends naturally with the group's performance. Though there are a couple solo spots for both cello and group singing, the majority of the album consists of these delicately balanced duets. The performances were captured in a valley near Bunun, so the recordings have a wide, open-air feel to them that perfectly complements the organic, soul-stirring music.(source)

1. Ku-Isa Tama Laug (Weaving Song)
2. Lugu Lugu Kan-Ibi (Diligent Child)
3. Mudanin Kata (The Journey Home)
4. Manas Kala Muampuk (Joy Tonight)
5. Malas Tapag (Celebration)
6. Wulu Dream
7. Macilumah (Song for Concluding Work)
8. Pasibutbut (Prayer for a Rich Millet Harvest)
9. Mataisah-Hik Sagan (My Dream Last Night)
10. Wulu Mist
11. Bunun Tuza (The Bunun People)
12. Sima Cisbug Bav (Who Is Shooting on the Mountaintop?)
13. Malkakiv Malvanis (Song of the Trap)
14. Wulu Sky
15. Pis Lai (Song of Prayer for Rifles)

Just pass the beauty around it is thegoodone

“Taiwan’s indigenous people became known to the world through the unique eight-part harmonic singing of the Bunun people, which, in 1943 (when Japanese scholar Kurosawa Takatomo presented recordings of the Bunun music in Paris) caught the attention of Western ethnomusicologists. Nine years later, Kurosawa permanently changed musicologists’ ideas about the origins of music when he introduced a traditional Bunun song called ‘Pasibutbut’ (‘Prayer for the Millet Harvest’) to UNESCO. With its complete harmony, the song overturned the scholars’ original theory that music originated in single-note melodies, progressing to two-note harmonics, and then on to more complex arrangements.
‘Pasibutbut’, which has been called the ‘sound of nature’, is said to have been created by a member of the Bunun who was inspired by the sound of humming
bees, a rushing waterfall or the sounds made when crossing through a pine or
bamboo forest…

This is a prayer for peace, good health, safety and a rich harvest for the family. It must be sung when sowing and harvesting the crops, and during ceremonies only adult males may participate in the singing.
For women to sing it is taboo, and Bunun tradition suggests that this would be to the detriment of the harvest. The singing must also be continuous, with no breaks, or it will likweise affect the people’s health and the harvest for the coming year.”

From linear notes found here.

December 18, 2010

Chico Freeman - Spirit Sensitive

today was a Chico Freeman day,and the best way to end it (and any day) is this beauty,that you can call
the art of breathing new life to standards recorded in the midst of Chico's free jazz wonder adventures
back in 1977 ,India Navigation  and heavenly ballads,you know...
summertime autumntime wintertime anytime

the quartet:
Bass - Cecil Mcbee 
Drums - Billy Hart, Famoudou Don Moye 
Piano - John Hicks 
Tenor Saxophone - Chico Freeman

December 16, 2010

Be Exciting

Kahil El'Zabar Testifies

A small reminder, I'am shure you have all heard it before...

December 14, 2010

Malachi Thompson - Spirit

1. Spirit of Man
2. Back to the One
3. A Rising Daystar
4. Dhyia Malika
5. I Remember Clifford
6. Dearly Beloved - (bonus track)
7. No More Hard Times

Malachi Thompson (trumpet), Leon Thomas (vocals), Arnae Burton (vocals), Carter Jefferson (tenor saxophone), Albert Dailey (piano), James King (bass), Nasar Abadey (drums), Randy Abbott (congos).

Jazz is the music of freedom. Freedom is primarily a mental state of being. The artist certainly has the liberty to create a great music, but whether his mind is trained or free to do so is another issue. Looking at Jazz from a historical reference point, the elements that contribute to the making of a good Jazz musician are; mastery of the instrument, a working knowledge of music theory, a chronological reference to past greats and most importantly, a concept or sense of self.
We all can't be innovators, but we all have a 'voice'.


Don't worry everything will pass just call on thegoodone :)

Malachi Thompson

December 10, 2010

You And I Are Disappearing

Daniel Carter & Reuben Radding - Luminescence

1. You And I Are Disappearing
2. Ancestral Voyage-Mystery Succeed
3. Refracted Light And Grace
4. Blessing The Ride
5. Vignettes
6. Qualcosa Verso Azzurro
7. Occurrences, Places, Entities And The Sea

Listen it is thegoodone.

Daniel Carter, master of the improvisational sax, clarinet, trumpet and flute. Loking for infos on this man I found nothing but good words, admiration, obviously beloved by coligues, musician's musicians, not only a surce of great sound but a source of wisdom. After one concert in Seattle Reuben's wife said of Daniel: "He makes you want to be a better person", can you say something more beautiful of another human being?

Aumfidelity on carter: Daniel Carter is not an enigma, no more than a teeming forest is. Give some sincerely up for true and you've made a commitment which will last a lifetime, if you've got the mettle for searching unfettered.
I first became aware of Daniel Carter's immense talents through the collective
Other Dimensions In Music. Every time, and I mean every time, I've heard the man bring an instrument to his lips - be it reeds, brass or flute - beautiful sounds emanate. His is a rare natural gift, though he is learned a-plenty, never you mind about the anarchy speak ~ in the sense that it is so commonly misconstrued.
If the world ever does truly silence for a moment please, the first sounds I would want to hear are the ones that Daniel Carter chooses, because I know that true democracy is deep in his essence.
I love it with tears of joy when he laughs; I love the way he dances. -SJ
Over the past three decades-plus, Daniel Carter has performed with: Sun Ra, Billy Bang, Roger Baird, William Parker, Roy Campbell, Sabir Mateen, Simone Forti, Joan Miller, Thurston Moore, Nayo Takasaki, Earl Freeman, Dewey Johnson, Nami Yamamoto, Matthew Shipp, Wilber Morris, Denis Charles, MMW (Medeski, Martin, & Wood), Vernon Reid, Raphé Malik, Sam Rivers, Sunny Murray, Hamiet Bluiett, Cecil Taylor, David S. Ware, Karl Berger, Don Pate, Gunter Hampel, Alan Silva, Susie Ibarra, D.J. Logic, Margaret Beals, Douglas Elliot, Butch Morris, TEST, OTHER DIMENSIONS IN MUSIC, ONE WORLD ENSEMBLE, SATURNALIA STRING TRIO, LEVITATION UNIT, WET PAINT, THE TRANSCENDENTALISTS, and many many many many others (meaning more every week or day practically).

Daniel Carter Interview
by Nils Jacobson

Tell me about anarchy.
It's funny, the word anarchy and anarchism, or anarchist... You know, there's a slightly different connotation, at least to my ear, between anarchy and anarchism...

...The idea of people freely associating, and deciding for themselves individually and collectively, what it is they want to do, rather directly... Might even be more of a democracy than a democracy, certainly as we know it. So I think there's a semantic problem in some people's ears, and I don't blame them. But for some reason I latched onto the anarchist idea, maybe because there is the misunderstanding, and it it could be interesting. Maybe even by the time I was born it had a little more bite to it, a little more of an edge to it, than the mere word democracy. But I think the real idea behind democracy, maybe even ideas that the founding fathers were not even prepared to try to realize because of their situation, is not so different from anarchism. ...more

December 1, 2010

Moondog & the london saxophonic~sax pax for a sax

sax  pax for a sax

 Hi ! aNOtheR favourite
The melancholy mysticism that permeates this recording is rare beauty. Sax Pax For A Sax issues Louis Hardin's (a.k.a. Moondog) first re-entry in the American market since 1971. A stargazing composer, Moondog's penchant for crafting accessible, yet utterly otherworldly melodies bridges European classical forms with American jazz sensibilities, and positions him among the greats like Sun Ra, Charles Mingus, George Russell and Duke Ellington.
s knack for inventing hybrid instruments has also placed him among the ranks for Harry Partch and Rahsaan Roland Kirk. On this venture, Moondog is paired with the all-saxophone ensemble, The London Saxophonic, to deliver a collection of carnival-esque melodies that successfully meshes hypnotic Native American tribal stomps, rich Baroque chords and bracing big band harmonies.
The orchestration for this collection is keenly programmed into different sized ensembles providing a distinctively unified yet varied sound. From the jovial cabaret composition, "Paris," which features a nonet swinging jubilantly in unison with a vocal choir, to the rococo waltz, "Mother's Whistler," which features a soprano saxophone beautifully leading a quintet, the stylistic palette for this engrossing recording is boldly varied.
This music eclipses the conventional big band vernacular yet uncannily swings with panache.