Jazz Sounds Of Africa

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Total Tracks: 12   Total Length: 69:10

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World Jazz before world jazz was cool

sigmonky

You get the sense that these guys were doing alot of mambo, Calypso, African Hi-Life, Brazilian, and Arabic club dates when not playing hard bop jazz gigs in the late 50's. That would explain the easy familiarity they seem to have with a smattering of african and arabic popular musics of the 50's and the unforced infusion of hard-bop sensibilities throughout. This outing manages to feature alot of "ethnic" instruments ( "Nights On Saturn", "Oud Blues" ) without sounding precious or corny.Great grooves and great blowing throughout.

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Whoa...

Goobertron

Certainly not for everyone, because not everybody is cool enough to dig these sounds of worlds coming together. The first track takes a while to take hold, but hang for the next few songs. Which are inventive and original but mostly just well-played and solid listening.

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Track 1-6, 10 Personel

Bronxboy

Correction: Arco on No. 5 is Calo Scott (cello) On 1-6,10 Tommy Turrentine (tp) Bilal Abdurrahman (cl, per) Eric Dixon (ts) Calo Scott (cello) Ahmed Abdul-Malik (b) Andrew Cyrille (d) Rudy Van Gelder Studio May 23, 1961 On 7-9. 11-12 Richard Williams (tp) Rupert Alleyne (fl) Bilal Abdurrahman (cl, darubeka) Edwin Steede (as) Taft Chandler (ts) Calo Scott (cello, vln) Ahmed Abdul-Malik (b, oud) Rudy Collins (d) Chief Bay (African d) Montego Joe (cga, bgo) Rudy Van Gelder Studio August 22, 1962 I hope that emusic will get around to Spellbound and Eastern Moods

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They Say All Media Guide

Jazz Sounds of Africa compiles the complete contents of two early New Jazz LPs by Ahmed Abdul-Malik, which were originally issued as The Music of Ahmed Abdul-Malik and Sounds of Africa. The music on this reissue is simply captivating, as the brilliant bassist and oud player of Sudanese descent blends elements of jazz with that of Middle Eastern and African music. While the names of several of the contributing musicians are likely to be unfamiliar to many jazz fans, except for Andrew Cyrille and Tommy Turrentine, the music proves to be fascinating throughout both sessions. Any fan of John Coltrane’s composition “India,” which was written and performed around the same time frame, will delight in the hypnotic opener, “Nights on Saturn,” with an eerie solo by an unidentified Korean reed instrument played by Bilal Abdurrahman. The leader overdubs on oud (the Middle Eastern ancestor of the mandolin) on several tracks, as well as demonstrates his fine arco bass on the old standard “Don’t Blame Me.” Tommy Turrentine, whose career was unjustly overlooked because he retired from music prematurely, is a compelling soloist on the 1961 session. The latter session is far more percussive, with Abdul-Malik utilizing a larger ensemble. The highlight of this date is the lengthy exploration of the infectious original “Communication,” which almost conjures up an African tribal chant with Richard Williams’ trumpet as the lead voice, with the percussionists eventually taking over as they play off one another with vocal encouragement from one of the players. The songs on this CD compilation of the two-decades-old albums have stood the test of time very well. – Ken Dryden

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