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SENEGAL JAZZ: This classic 1982 piece (Ndiaga Niaw) starts out in an ordinary way with vocals, but at the 2:30 minute mark, when the saxophone introduces a new theme, the whole piece transforms. It becomes a pulsating circus of saxophone, guitar, drums and voices masterfully weaving in and out.
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While organizing my music collection on my PC, I was astonished to discover a few albums which I apparently bought but never listened to or even knew that I have.
I have this magnificent compilation by Brainticket, which was a Belgian Krautrock/psychedelic rock band from the 1970s. Their first album Cottonwoodhill (1971) is a real trip and unlike anything I’ve ever heard. (I’ll be reviewing it later).
Here is the archive.org listen/download page for that first album. (Here is their BC page).
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Pirates Choice by Orchestra Baobab. (1982). This milestone 1982 recording (released in 1989 and re-released in 2002) showcases the Afro-Cuban fusion coming out of Senegal in the 1970s and 1980s. It started with Star Band of Dakar, eventually splitting into the more dance-oriented mbalax and traditional jazz played at Club Baobab. Orchestra Baobab was the club’s house band that later become an internationally famous after Pirates Choice was re-released. A saxophone is front and center of almost each performance, and singers alternate between Spanish and Oolof. This recording was magical and equally balances the sax, percussion, electric guitar and two voices. This album includes both slower and lyrical songs (Soldadi, Ngalam) and more lively gumbos. Ndiago Niaw starts out in an ordinary piece with vocals, but at the 2:30 minute mark, when the saxophone introduces a new theme, the whole piece transforms. It becomes a pulsating circus of saxophone, guitar, drums and voices masterfully weaving in and out. Although the saxophone leads for a good while, it hands off beautifully to the relaxing & uplifting guitar and eventually to the two singers. The similarly intense Ray MBele brings a melody and tugs at it relentlessly throughout the song. Although the guitar introduces a gentle breeze midway through and the instrumental sections are just amazing, the back-and-forth between instruments and voices bring an intensity to the song. (Initially I regarded OB as simply a great jazz band, but now I savor the singing just as much — if not more so). Utrus Horas begins so lackadaisically that one is inclined to overlook it, but the singing is so beautiful and the guitar solo is so slow and questioning. The song is both restrained and yet at the end all the elements meet and blend together. The remaining tracks (Toumaranke, Foire Internationale, La Rebellion, Werente Serigne) are faster lowkey pieces. Overall, this collection provides a well-balanced diet of jazz and singing that makes the album timeless and always surprising.
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