Fragmented Frequencies Jan 2010

The Kora is a 700 year old 21 string harp from Africa. 71 generations of Mali musician Tounami Diabate‘s family have made it their own, passed from father to son in the griot tradition. Nowadays he is world renowned for his virtuosic ability and better still he’s up for anything. He can play by himself, covering bass, melody and solo parts without overdubs as he did on his recent The Mande Variations (World Circuit), or with Western collaborators like Taj Mahal, Damon Albarn (Gorillaz) or even Bjork. “When I play with Damon or Bjork I don’t play their music. I just play my music. They play their music and we put it together and it will become a new music,” he offers. And the results can be sublime such as his duo with legendary Mali bluesman Ali Farka Toure which won them a Grammy.

He also fronts his own big band, the Symmetric Orchestra, a 25 piece fusion between traditional and contemporary instrumentation that plays every friday night in Bamako Mali. Diabate describes it as a Pan African band, an opportunity to provide an alternative to the negative African stereotypes perpetuated by the media. ” We want to rebuild,” he offers, before launching into the Orchestra’s machinations. “The kora is in the middle of this project,” he states, “even though you can play bass, melody and improvise on kora it’s not always good to do it at the one time. So for example the bass played from the kora is now played by the electric bass, so we are sharing.” Refugees from the Sydney festival, Tounami Diabate’s Symmetric Orchestra are playing as a 9 piece at Hamer Hall tonight Wed 20th Jan. If you’re reading this too late check the Orchestra’s sublime 2006 album Boulevard De L’Independence (World Circuit) and weep for what you have missed or if you can hold out until Feb the final collaboration with Ali Farka Toure is due.

One member of the Symmetric Orchestra making his own waves these days is the finger picking Ngoni (spike lute – an ancestor to the banjo) maestro Bassekou Kouyate. His debut album Segu Blue was incredible, a gentle low key meditative work based around four Ngoni’s all played by his family. His follow up I Speak Fula (Sub Pop/ Stomp) finds Bassekou Kouyate and Ngoni Ba on a subsidiary of Sub Pop called Next Ambience, a label designed in their words with “an emphasis on mind-blowing and life changing artists with no particular regional or cultural bias.” They’ve definitely started in the right place. The sounds of the acoustic Ngoni’s, the intricate picking, the incredible percussive webs, the elongated jams just feel so organic so beautiful so pure and life affirming that it’s impossible not to be hypnotised. Tounami Diabate’s presence on two tracks doesn’t hurt either.

From Friday the 22nd – Sun 31st of Jan ACMI presents Yard! Dub and Reggae on Film, a series of hand picked new and classic films documenting not just the power and the breadth of the music, but also the poverty and social problems that spawned it. There’s the classics, like Rockers, a 1978 meditation on Rastafarian culture, and The Upsetter, a profile on legendary lunatic Lee Scratch Perry, though also some contemporary films like the incredible Rise Up and the harrowing Made in Jamaica that peel between the picture postcard facade and reveal a country steeped in violence, poverty and inequality. Check – many of these have never graced the big screen (or sound system) in this country.

And if Tounami wasn’t enough to thank Sydney for, refugees are slowly filtering down from the Now Now festival, Australia’s premier improvised music festival. There’s a bunch of stuff on between Stutter (Horse Bazaar) and the Make It Up Club (Bar Open) over the next couple of weeks, featuring a mish mash of locals and internationals in curious combinations. Of particular note are the free jazz noise drums saxophone duo from Belgium Chaos of the Haunted Spire, and scary loud tenor saxophonist Kris Wanders and Mani Neumeier (Guru Guru) reuniting to resurrect a relationship that began in the mid sixties with their German group Globe Unity Orchestra. Check and for more details.

Fragmented Frequencies 7th Dec 08

The problem with Femi Kuti is his father Fela. How can you possibly compete with a legacy as immense as that? Or at the very least forge your own identity? It’s the Ted Whitten effect. What chance did Ted Jnr have when his father was Mr Football? If he played well, it was never as good as his father, and if he played poorly then he was an insult to the legacy. The solution? Retire at 25 and run a foundation dedicated to your father’s memory. So to with music. We’re so desperate for another piece of Fela that we try to build Femi in his image, willing him to commit just one more epic Afro-beat freak-out, and he regularly obliges. Femi was in his father’s band, so he knows the ropes, though he’d also no doubt feel the pressure. On his latest album Day By Day (Wrasse/ Filter) he does give us a couple of tastes of Afro-beat, and shares his fathers desire to meld politics and music, yet he also diversifies, attempting to move beyond his father and create his own path. He’s moved from sax to trumpet, and the music takes on a jazzier and at times a light, relaxed, and mellow feel, moving at a gentle cadence with the occasional brass stab. It’s definitely Femi’s most interesting and complex work to date, and solidifies his reputation as an artist in his own right. For those still yearning for the Fela experience, Femi’s brother Seun has enlisted Fela’s Egypt 80 band and is making his way to Womadelaide next year, and legendary percussionist and bandleader of Fela’s Africa 70 Tony Allen will also playing the Corner – both in March 09.

Another man with family issues is Lulo Reinhardt, grand nephew to gypsy jazz legend Django Reinhardt. In fact there is a certain similarity between Lulo and Femi. Both have an incredible affinity with their famous relative’s stock and trade, yet use it as a launch pad to explore their own musical whims. His Latin Swing Project (Toca/ Filter). begins with gypsy swing yet also dips into elements of samba, flamenco, tango and jazz influences. He’s in town and playing at the Famous Speigeltent tomorrow night. His musicianship is incredible, and his live show incendiary. He’s also got one up on Django: he has all his fingers.

Not only is there a new 2 disc compilation, but also an accompanying coffee table book for Dancehall: the Rise of Jamaican Dancehall Culture (Soul Jazz/ Inertia). With text and hundreds of photographs from Beth Lesser, it’s a definitive chronicle of the phenomenon which began in the 50’s in Kingston Jamaica with Coxsone Dodd’s sound system and has continued to this day. Lesser was there 27 years ago and her accounts come from this insider perspective as she talks of her experiences at sound clashes, The DJ’s, the police, the poverty and the political violence. The photos too are incredible. everyone from Sly and Robbie, Gregory Isaacs, King Jammy, everyone you could think of back in the day. It’s an incredibly creative time in the history of music, where the scene was experiencing a resurgence and the creativity was rampant.

Stutter is pleased to be hosting a four-way, a combined Christmas party with the excellent Sabbatical Record label (, the dark brooding Sweat Lung (, the launch of issue 21 of Cyclic Defrost Magazine and their own celebration of a year of incredible experimental music. It’s on at Horse Bazaar on Wednesday the 17th of December.

Finally tonight, and when I say “tonight!” it’s with a high pitched squeal and a metal salute, Philip Brophy is living out his metal fantasies. Bare-chested and adorned with long flowing black metal-dude hair, flailing away at the drums, he will be flanked by two exuberant explosive dancers. No words. No guitars. No other visible instruments. Just a set of skins sandwiched by skin. It all sounds very wrong, yet it’s a performance to end the One of Us Cannot be Wrong Exhibition and it’s at the TOFF in town. And yes Phil, sorry to say but I know which of us is wrong.

-Bob Baker Fish