Friday, 10 April 2020

Introducing Afro Cluster

First published in Songlines Magazine issue 157, May 2020.



An Afro Cluster gig is like the best jam session you’ve ever been to. All the musicians are top-notch, no-one is trying to out-do each other or show off (well, not too much) and all of the aimless noodling is filtered out well before it gets to your ears. It makes sense when you consider that that’s exactly how the band started out: meeting each other periodically during Cardiff jam nights and then meeting up regularly, accreting members along the way. Now they’re a horn-heavy eight-piece, and each musician brings something else to the table – hip-hop, Afrobeat, funk and jazz are the main culprits, but there’s a whole exciting world to be found in there.

Their connection to jam sessions extends past their origin story. The way they keep that energy in their live shows and studio recordings is by embodying that same spirit through the full journey of creation. Bassist Andrew Brown explained how their tracks come about: “We have these long jam sessions, we don’t put any restrictions on anything. We record it, and then we start to put that under the microscope and say ‘alright, this section is actually really good, let’s develop that.’” The passion and free-form creativity is preserved, while rounding-off the jagged edges and solidifying it into a cohesive whole.

It’s hip-hop that really provides an entry-point to the music, in many different ways even past the obvious musical markers. Turntablist DJ Veto reckons that it is a hip-hop state-of-mind that drives the band, and even provides the catalyst for their musical eclecticism. “To a large extent, the hip-hop element is the way that we take influences, the way that hip-hop would sample any type of music and create something different out of it,” he explains. “That’s essentially where we’re at with the band.”

Evoking vibes of A Tribe Called Quest, De La Soul and Jurassic 5, it’s an approach that harks back to the classics of alternative hip-hop, not least for their dedication to keeping their sound solidly in the political realm. Frontman and MC Skunkadelic brings in crucial topics from the real life of the UK today – racial inequality, mental health, money problems, living in a digital world with all of the bizarre, often poisonous, boundaries and borders that it facilitates – but the music is never po-faced. Afro Cluster’s parties are made with a perspective that could only have come from Cardiff, but which makes sense on a much wider scale. In many ways, they reflect a sort of South Walian Ozomatli, a band whose LA-centric sound resonates with ears and limbs around the world through an international consciousness. Where Ozomatli reinforce their sound with Mexican and Cuban rhythms, however, Afro Cluster’s finds its spice in Afrobeat, highlife and even Ethio-jazz.

They’ve been slowly gaining their reputation as an incredible live band over the past few years, and with a debut album, The Reach, on the verge of release, they’re poised to make a powerful statement for the head, the heart and the feet. Live or through speakers, they’re coming at you one way or another – make sure you’re ready.

Siti Muharam - Siti of Unguja: Romance Revolution on Zanzibar

First published in Songlines Magazine issue 157, May 2020.

Siti Muharam
Siti of Unguja: Romance Revolution on Zanzibar
OnTheCorner (36 mins)

Siti Muharam is the great-granddaughter of Siti binti Saad, the woman who turned taarab from the inaccessible music of the Sultan’s palace into the people’s sound of Zanzibar. It’s a great legacy to shoulder, and with this debut album, Muharam more than rises to the occasion.

Her voice occupies the same territory as a Bollywood diva, or Billie Holiday, or her great-grandmother; with that same easy but powerful grace. The rest of the ensemble is just as intoxicating, and together they take taarab to another level. They look back to its origins and maintain a real vintage feel while lighting a path for potential new directions for the style. The addition of bass clarinet and double bass lend a noir-jazz slinkiness, and alongside the subtlest of electronics, the feeling is of traditional music finding a comfortable home in the year 2020, rather than any self-conscious ‘fusion.’

Siti Muharam and her group are in command of a music that’s both stately and spicy, and in continuing a great taarab lineage, they’ve made something very special. Once I’d listened to Siti of Unguja, I was already excited to get to listen to it again. I just wish there was a little more of it!

Danyèl Waro - Tinn Tout

First published in Songlines Magazine issue 157, May 2020.

Danyèl Waro
Tinn Tout
Buda Musique (73 mins)

Danyèl Waro has spent the past 45 years becoming the international ambassador of maloya, the revolutionary roots music of the Indian Ocean island La Réunion. He also possesses one of the most outstanding voices in African music today, sounding somehow both fragile and powerful in equal measure. On Tinn Tout, he continues to do what he does best: a sparing, traditional version of maloya, with occasional small innovations – a Gnawa rhythm here, a Jaco Pastorius-like melodic bass there – that serve only to heighten the music’s emotional range.

One of those innovations comes on ‘Daniel Singaïny’, which explores maloya's often hidden connection to South Asian music. It starts with a short section of morlon narslon music, a shawm-and-drum style of La Réunion’s Tamil-descended Malbar community. The rest of the song is in Waro’s usual style, but that introduction changes the context in which it is heard; South Asian colours blossom forth. It’s not hard to conceive the massed vocals of maloya as distant cousins of qawwali.

Waro’s voice has a way of hitting the ear that directly touches the soul, and his respect for the past and future of maloya and La Réunion is just as clear and just as earnest – to listen to Tinn Tout is a pleasure and a privilege.

Katawa Singers - Ufulu 1991-1997

First published in Songlines Magazine issue 157, May 2020.

Katawa Singers
Ufulu 1991-1997
1000HZ (54 mins)

In urgent need of a bucketful of wholesome joy with none of the risks of eternal damnation? Katawa Singers have you covered.

The group, from Mzuzu in Malawi, changed the face of gospel in their country. Their tight harmonies are based in the tradition of the East African church choir, but they stand out for two reasons: their use of sounds from the region’s three main cultural groups (the Tonga, the Ngoni and the Tumbuka); and the all-pervading Yamaha keyboards which provide cheap-and-cheerful synth backdrops to it all.

Although the songs speak of piety, prayer, self-control and asceticism, the musical settings exude an unbridled happiness with a minimal amount of schmaltz. Even their take on ‘Kum-ba-yah’ raises the song from its usual dread-inducing campfire dirge into an earnestly cheerful and hallelujah-filled grin-along.

This compilation spans Katawa Singers’ first seven albums and from the sounds of it, the tracks have been taken from copies of copies of cassette tapes. The sound quality is therefore rather poor, even cutting out abruptly on the last track, and the distortion and fuzziness across all the tracks toe the line between endearing and frustrating. If you can get over that though, there’s a lot to love in this music, be that God or otherwise.

Large Unit Fendika - Ethiobraz

First published in Songlines Magazine issue 157, May 2020.

Large Unit Fendika
Ethiobraz
PNL Records (65 mins)

The traditional Ethiopian musicians of Addis Ababa’s Fendika azmaribet have joined forces with Paal Nilssen-Love’s pan-Scandinavian group Large Unit and members of Dutch punks The Ex to create one almighty 22-piece avant garde Ethio-trad-punk, free jazz, big band noisefest. Now there’s a collection of adjectives that will either get you salivating or reaching for the ear-plugs.

I was all up for it – which is why I was a bit stumped at the quiet opening. It’s not until the middle of the third track that it really kicks up a gear, and even then, it feels as though there is something lacking. Musically, the group works really well. The Zappa-like jazz rock freak-outs and Ethiopian vibes complement each other as well as contrasting, and the best moments come when chaos threatens – but never quite manages – to take over completely. All the elements are there to make it an exciting musical explosion, but the end result falls a bit flat. Even though the album is a live recording from 2018, it lacks that passionate live energy – an important factor when the noise becomes challenging.

Ethiobraz is a successful proof-of-concept and the group tour Europe in June (COVID-19 depending) – maybe two years of percolating will have imbued Large Unit Fendika with that extra added spark.

Friday, 6 March 2020

Kerekes Band - Müpa Palace of Arts, Budapest, Hungary

First published in Songlines Magazine issue 156, April 2020.



Kerekes Band
Müpa Palace of Arts, Budapest, Hungary
12th January 2020

On a freezing January evening in Budapest, Kerekes Band certainly knew how raise the temperature. They should do, too – they’ve been going for 25 years. This was the first in a whole year of celebrations from Hungary’s premier ‘ethno-funk’ group, and it had been months in the planning. Across two hours, they presented music spanning every step of their career, from their beginnings as a traditional táncház band to the high-octane disco-roots that makes them stand out above the rest.

It started slow and acoustic, one instrument at a time, first with just end-blown shepherd’s flute, joined by viola and kobza lute and eventually bass guitar and drums to round off the quintet. From there, it just ramped up and up. Traditional melodies transformed into wild psychedelic headbangers, and covers from ‘Voodoo Child’ to ‘Jungle Boogie’ become folkified alongside pieces from Kazakhstan, Azerbaijan and Norway.

A particularly inspired addition to this anniversary concert were special guests PásztorHóra, doubling the size of the ensemble on stage. The young, all-acoustic folk group linked past and present, sometimes literally; the most exciting moments of the concert came when PásztorHóra’s jaunty, cimbalom-led pieces flowed seamlessly into Kerekes’ biggest hits.

The eternal problem with concert halls is that they’re seemingly designed to discourage dancing. It was the same tonight, with Kerekes Band playing music that practically screams for bodily movement in front of a happy but resolutely seated audience. Until the encore. For those last 20 minutes, the floodgates truly opened and I don’t reckon there was an occupied seat in the house. After 25 years, no audience can resist Kerekes Band’s deep grooves – they provided a heat that lasted long into the cold, foggy night ahead.


Photo: Kerekes Band with PásztorHóra live at Müpa Palace of Arts, Budapest, 2020, by Kotschy Gábor.

Obituary: Bruno Nettl (1930-2020)

First published in Songlines Magazine issue 156, April 2020.

Teacher, mentor, writer and pre-eminent ethnomusicologist

From fleeing the holocaust from Czechoslovakia to the US as a child, to being a founding member of the Society of Ethnomusicology, to being one of that field’s most well-respected figures, Bruno Nettl’s life and work is nothing short of remarkable.

In terms of musical study, Nettl wrote on subjects as diverse as the indigenous traditions of North America and the classical music of Iran, but he is perhaps best known for his studies of the field of ethnomusicology itself. No budding ethnomusicologist can avoid his book The Study of Ethnomusicology, a work he first published in 1983 and updated continuously throughout his life, which lays out the essential thought processes and discussions that scholars should undertake before, during and after their research.

Writing at length about the intricacies and philosophies behind study itself is one of those things that can quickly get very dense and very dry, but Nettl’s particular talent was presenting his thoughts in an in-depth and authoritative way while remaining easily accessible and even down-right entertaining. I don’t think I’ve read another ethnomusicologist who is as comfortable making puns and dad-level jokes as Nettl.

Across any field, and certainly within ethnomusicology, it would be hard to come across a person whose work has consistently defined and redefined the meanings of the discipline throughout such a long career as Bruno Nettl. He will be missed, but his work and words will echo on. A memorial concert will be held for Nettl on May 10 at the University of Illinois in Urbana.


Photo: Bruno Nettl, by L. Brian Stauffer.