|
This latest release from the Mafufo Percussion Ensemble takes listeners
into an entirely new realm conjured by Armando, aka Uncle Mafufo.
Uncle Mafufo is best known for his work with Suliman el Coyote in
their duo, Sirocco, and as a solo artist with several recordings
and now two instructional percussion videos to his credit.
The talented "ensemble" consists
of Armando, who shows us a whole new side of himself heretofore
unknown - that of melody player! For he is the sole musician on
this whole album. Instruments played by Armando while weaving this
spell include: arghool, bells, bendir, bongos, caja, claves, clay
pot, conga, cymbals, darbuka, defs, maracas, nakaras, ney, palitos,
tabl, tabla, santur and zills. As you can see, all the instruments
are acoustic and organic. You will not hear any synthesized, electronic,
computer-enhanced or plastic sounds. Personally, that is a quality
I look for in all my favorite albums. I want it "real"- and this
album is that.
Armando had been working on this
album for about two years before its release in Fall 2000. The songs
came to him often as pictures, or scenes, in his mind's eye. "I
love courtyards. A lot of my songs take place in courtyards. There's
always water present, too, a fountain. Often moonlight," he explains.
"I would get ideas - pictures - and start working on the song. I
would work on some and let others go. I knew what I wanted to do.
I could hear it. So I just didā em." This album is pure Armando.
It is a glimpse of a wonderful man whose purpose is to share joy
with his music, straight from his heart and soul to yours.
Each track on this album is danceable
and useful for soloists and troupes. I feel nearly all the songs
are suitable for tribal style, interpretive fusions and classical
bellydance. Some titles seem best for choreography. I can see some
dynamic group numbers going on to some of these, while others lend
themselves to a slow tribal improvisational jam. Still others seem
great for soloists as drum solos - and there's places in many songs
that allow for soloists to step forth from a group if they should
want to. It's quite rare to find an album so versatile, as readers
are no doubt aware. I feel this is true for this album because each
song has many possible interpretations. They seem to be musical
"suggestions"- not demanding that the dancer produce any preconceived
style other than what comes from within herself. In the following
descriptions I hope to give you a sense of what came to me while
listening to this soulful collection.
Track 1 is "Saludos," which means
"Greetings" in Spanish. The song is in an unusual Tunisian 4/4 rhythm,
Saadawi Thani. It sounds a bit like a 6 to me. Each time I listen
to this, it immediately evokes a hot, lazy spice market scene in
my imagination. I can almost smell it cookin' - carried in on a
cool reed and drone breeze. As if taking a pause for some minty
refreshment, a drum break surprises me with the extra flavor before
pouring me back into the sauntering desert pace.
"Joydance" is all percussion. It
could be a great drum solo all on its own, and is suitable for a
group choreography. It's a good medium fast tempo with simple breaks
and accents, before the end changes feel and goes into a more complicated
"sharki-like" drum solo with many levels and textures of sound before
a 2/4 finale.
"In the Shade" has an entirely different
feel to it. This is one that Armando envisioned a courtyard scene
during while writing it. He says he feels it "was a very hot day,
and these people came to their courtyard to find shade against the
wall. There are trees and a fountain that refreshes them. The water
jug you hear is what someone picked up to play while they rested."
This song features the ney, and is in another 4/4 time signature.
It feels soft and rolling to me, light and airy like the perfume
of jasmine wafting over that wall on a late summer breeze. Yet it
is not foolish or dallying, as can be associated with the quality
of air in music, but rather more mature and deeply grounded in feel.
Number 4 is "Tanta Bariga," which
means "A lot of (or āMuch') Belly." Armando describes it as "the
dance of the fuzzy wuzzies. I pictured modern dancers, running,
jumping and standing still," he explains. Its rhythm he calls a
"Palito 4/4," because it's played with little sticks called palitos,
which is a Cuban and Puerto Rican term for these instruments. To
me, it has a metallic drum sound, that seems to contain many different,
complicated parts, like a puzzle. It has an "African-Island" feel
to me, and I see jungles when I hear it. I'd choose to use it as
a slow piece, I think. It would be great for a dramatic or theatrical
floor or sword dance, featuring one or many dancers. It also seems
to be asking for fire as a prop. That would be appropriate in my
opinion. I'd choose to really draw out my moves, letting this music
roll over, in, around and through my dance - adding unexpected quick
moves in strategic places.
"Bajo la Luna," or "Under the Moon"
is one of my favorite tracks on this album. It begins with a nice,
one-and-a-half minute ney solo for an intro. Meditative as the ney
is, breathy - a side of Armando I hadn't seen. A mellow 6/8 Shabia
rhythm on bendir and defs, with other sinewy and organic percussion
enters, keeping this Moorish one smooth. Like an Andalusian afternoon,
or a very late night's morning. One can literally hear the tinkling
moonlight..... There is a sacred quality to the ney in this song,
that speaks to something ancient. Armando was thinking of Garcia
Lorca, who wrote: "The moon is a black hole. The flowers don't mean
anything. What means something is your arms at night when they embrace
me." As if making love, this song speeds up a bit in the last 30
seconds, to relax again into an easy finish.
"Solo Numba 9" has the first "Dum
Dum tek a tek" (Maksoum) you'll hear on this CD! It comes at you
in a medium tempo, all Egyptian tabla talking. Other percussion
such as a def, riq and darbuka lend their distinct sounds as Armando
fills it in. The tempo picks up just over half way, then changes
one more time for a bouncing Ayoub finale. This would be a fun drum
solo, or the first part could make a haunting troupe number with
the last part as a solo or tight group piece.
"Foolindabul" is a 12/8 Buleria rhythm.
Fast fingers and rapid ripples characterize this great new interpretation
of the traditional flamenco rhythm. A consistent wooden tapping
reminds me of Polynesia, yet the distinct Andalusian feel is also
there. This is another one I'd probably use as a slow piece, but
certainly there are many possibilities.
Another total favorite of mine is
"Round the Fire." It's a 6/8. I love this one! A lazy frame drum
holds it all down as it's accompanied by resonant reeds. It feels
perky, but not lilting - the reeds are attention-grabbing but not
overbearing. It is a perfectly balanced desert song, and it does
give me the feel of those fireside jams where all is right with
the world and you wish the moment would never end. One of those
jams where no one is talking with their mouths, but everyone has
something good to say.... Later, a deeper percussive break asserts
itself ("One of the strangest drum solos I've ever done!" exclaims
Armando), but still the frame drum holds the feel. Soon our reed
rejoins, tying it all together again.
In case you felt all mellowed out
and content after that fireside jam, and thought of heading for
your tent for the night, this one'll make you think again! It's
"Dragon Dance," and one can almost feel the flames shooting from
the mouth of the beast as the familiar Maksoum beat keeps you rooted.
This rooted quality of the rhythm allows you to digress into the
intricate finger cymbal and drumbeat patterns that grow out of it
like so many sparks from it's core.
"Recuerdos," means "Memories" or
"Recollections." It's a Bolero 4/4 and features the santur. The
intro is all santur - gorgeous, haunting, ethereal and plaintive.
Or contemplative. Perfectly placed pauses add volumes to this takseem
of almost 3 minutes. If sunlight pouring through bright green leaves
had a sound, it would be something like this. Then, the Bolero kicks
in - easy and soft. Crispy wooden claves are polite and respectful
of the delicate voice of the santur. They hold the beat like the
boulders in a stream, without which the water of the melody might
lose its support. Never insistent or forceful, just steady and relaxed.
This song calls for the dancer/s to surrender to it in order to
do it justice. Just beautiful!
"Adios, Aloha, Salam" needs no translation.
Another favorite of mine, this has that classic "Sahidi strut" sort
of feel, very royal and queenly. More of that wonderful arghool
reminds me of "Round the Fire" in the beginning of this tune, but
more structured somehow. It feels more "North African" to me. I
suppose I could think of the difference in feel between these two
songs as instead of the almost somnambulant communication between
the ensemble in the former, the musicians had a cool shower and
some coffee before they recorded this one. The feel is more - present,
or alert. Soon quick shimmy accents push their way to the forefront
for layering your slow moves or for peppering your piece in other
ways while you dance, before a return to the arghool melody. But,
the accents don't leave you after this appearance, they just retreat
a bit, allowing the dancer(s) to decide what they'll choose to bring
out of the song next.
Several of the songs have strategically placed pauses for drama
and interest. I find these to also be places to get into or out
of the songs while planning your dance sets. Each track's rhythm
and length of time is noted on the jacket for your convenience in
editing your routines as well. The moods and flavors of the varied
songs on this CD are sure to be useful for dancers and listeners
who like something out of the ordinary to challenge and delight.
It was "inspired by music played outdoors: around campfires, under
shaded trees, by oceans, by rivers; endless warm nights shared with
many tribes playing music and dancingā til the dawn."
To order, see your favorite vendor (yes, I carry these in Kajira's
Black Sheep Bazaar!) or contact Armando, P.O. Box 24, Capitola,
CA. 95010. www.sirocco-music.com
~end~
|