In Conversation with
Rafiki Jazz & ‘Nduggu’
(March 2021)
‘Nduggu’ 5 *****
March 26th 2021
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Styles: Global, Fusion, Jazz, Roots
Label: Konimusic Label,
CAT: KoniCD012
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I had the privilege to talk to band leader and bassist Tony Koni, and band producer, composer and singer Sara Yaseen around the release of their latest album ‘Nduggu’, meaning ‘dust’. The following is an article combining both interviews, and my thoughts on the album.
(Setting a scene…2018)
…The sound I could hear I knew I recognised, but I couldn’t understand how I could be hearing it…low and behold, I turn around whilst passing a packed WOMAD stage to see there upon: an almighty big band-esc, nine piece, global roots orchestra playing none other than Nusrat Fateh Ali Khan’s legendary Mustt Mustt.
Any musical collective capable of replicating the mightily bold and intrinsic sounds of Qawwalli classics, with still such a notable uniqueness - will always literally glued my feet in position - not to be moved from the remainder of their set. Each next song they performed providing a fresh, thoughtful, absolutely diverse but always emotive energy.
Since my introduction to the band that day at WOMAD, I have tried to see them at every possible opportunity since, as the energy you feel when listening to this live collaboration of instruments from all continents, of styles and stories so different and yet strung together seamlessly, movingly - their performances are overwhelmingly powerful.
With no one angle to come from, the band mix cultural roots musics from any landscapes they desire. Featuring eight permanent members the chore remains as: John Ball on on the Indian duo tabla drums, Vijay Venkat on the violin, Tony Koni on Western bass, Mina Salama on the oud - a many strings guitar native to the Middle East, Guery Tibirica bringing capoeira traditions, Cath Carr on Steel pans native to Trinidad, Kadialy Kouyate on the West African lute harp kora and whilst already wealthy in vocals, their soundscape simply wouldn’t be the same without Sara Yaseen’s stunning maqqam styled vocals. Saying this, of course the chore is expansive, each new tour, show, album - always layered with fresh collaborations, fresh sounds and new stories.
So what’s more amazing about this band which are somewhere near their 15th year as a collective celebrating voices and languages? ….It’s how they responded to the 2020 worldwide lockdown of life and industries.
Whilst many of us went home from work, and decided which new hobbies and online courses we would “start”, which instrument we would pick up after years of wanting to learn - only to find out it was more about the new Netflix series, and keeping our heads above water… Well not Rafiki Jazz, they joined the world of music by being uprooted and thrown into a new isolated online virtual realm.
Tony, the bandleader, also founded KoniMusic “crossing frontiers” music label, and thus is inevitably apt from his many years in the music industry and many applications to the various bodies that often make cross cultural collaborations possible…
The logistics of making an album in a national lock down are not easy. Firstly ensuring artists have a basic living income is imperative as all the live work is cancelled…In the case of producing, aside assuring each members have appropriate microphone and headphones and software… there’s the unique obstacle provided by the ‘staying at home’ initiative - connectivity!
It amazed me listening to Tony talking about the process: how much thought, admin and planning was given to wireless connectors, and fibre wires and other such tech things. Band members having to put down their instruments and for the first time, pick up wireless ports and run cable throughout their whole houses, to their new found “recording studio” / converted loft den, over one floor away from the kids home schooling space.
Nevertheless, funding was secured, the equipments brought, the wifi stabilised in each individual household of Rafiki Jazz, as eight home studios came to fruitions.
What proceeded perhaps might set a precedent moving forward in music making. Using a collaborative platform ‘Jamulus’ the band each individually contributed songs from their culture, taking turns to lead a new composition. Rehearsing in real live time. Creating in such a way uncovered hidden gems, such as violinist Vijay unveiling a stunning singing voice.
Working in this way also opened the doors to adding ears to all stages. Such as the production, which a traditionally across Rafiki Jazz albums been done by Tony or outside producers: this time Sara joined the production team with ears sensitive to the finest microtones - I believe you can hear the difference in styles across the albums: ‘Nduggu’ feeling somehow more layered in depth, exemplifying the moments when culture, religion, sound and spirit collide. In the 8 tracks on the album ‘Nduggu’ once again places musical diversity at the forefront.
Working in isolation opened the doors to individuals in the band having the opportunity to introduce new pieces from their own repertoires, from poetry, to devotional texts, to traditional songs, to hymns and more!
A perfect example of their collaborative methods on ‘Nduggu' is the Turkish ode to their band manager ‘Gesi Balgari’ in which all members of the band contributed compositions from the comfort of their home - all at once composing together.
The title track ‘Nduggu Bouy’ with its melodic bounce and smooth vocals encapsulates the collective sounds of the band, their experience, and subsequent transitions. Contributed by the unmovable force in the fabric of Rafiki Jazz that is London based hereditary griot: Kadialy Kouyate. Noticeably featuring the characteristic and stunning Mandinka 21 string harp called a ‘kora’, Kouyate and the band notably mixed the traditionally West African harp with traditional Southern Asian tabla drums. Much like the making of this album, ‘Nduggu’ is shining a light on the individual responsibilities, but also the larger global efforts needed.
The album also classically welcomess featuring artists, such as London Ghanian K.O.G on a highlife heavy track, and Ghanaian female firehouse ‘Wiyaala’ featuring in the upcoming promotional music video. The album also features the comeback of a previously recorded track: this time produced as a more traditional and authentic take of a Kashmirian Lullaby ‘Hukus Bukus”.
Whilst Rafiki Jazz has always exemplified multiculturalism with their “big band” aesthetics, this pandemic-lead album is a true intersection of individualism and collaboration. With contributions from each members, from the isolation of their homes, each track, more than ever, perpetuates life experiences and maintains their authentic tones that cross borders.
We can also look forward to videos learned, made and edited by Sara Yaseen who took yet another skill under her belt in this trying year.
Altogether an eclectic and exciting album, triumphantly and successful complete, circumventing the construing of online remote working. This album may be Rafiki Jazz’s finest.
Tracks
01. Naalaikku Nalla Naal | Tomorrow is a good day (India) | 05:17
02. Nduggu Bouy | Too much dust (Guinea) | 04:40
03. Tum na Aaye | Before you came (Pakistan) | 04:47
04. Ngozi Ucheoma | blessings (Nigeria / Ghana)
05. Omkoth Ma’ai | Stay with me (Egypt) | 04.49
06. Bani | Refusal (Senegal) | 03:28
07. Hukus Bukus | Who are you and I (Kashmir) | 04.25
08. Gesi Baglari | Gesi vineyards (Turkey) | 04.34
Total Playing Time: 37.02
