SH 10028.10029
A1. Moshi 17:00
A2. Guilde's Song To Binkirri 2:55
B1. Gardenia Devil 6:00
B2. 14 Temps 4:50
B3. Bamako Koulikaro 3:50
B4. Afrika Freak Out 6:20
C1. Zombizar 7:20
C2. El Hadji 0:24
C3. Chechaoun 12:00
D1. Tindi Abalessa 10:25
D2. El Hadji 1:00
D3. Balandji In Bobo 3:06
D4. Sannu Ne Gheinyo 5:20
D5. El Hadji 0:20
Barney Wilen - tenor sax
Michel Graillier - electric piano
Pierre Chaze - guitar
Simon Christian Tritsch - electric bass
Micheline Pelzer - drums
Didier Leon - takamba - oud
Caroline de Bendern, Marva Broome, Babeth Lamy, Laurence - vox
Composer - Barney Wilen [trx: B1, B4, C1, D4], Caroline De Bendern [trx: B1, C1, D4]
Producer - Pierre Barouh
Recorded By - Daniel Vallancien
Gatefold cover. Recorded in Studio Saravah. "Gardenia Devil" is taken from a poem of the chinese people. All other uncredited composed by tracks based on traditional folk songs.
'In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French & African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.Wilen pays little heed to conventional structure, assembling tracks like 'Afrika Freak Out' & 'Zombizar' from spare parts of indeterminate origins' ~ amg
'A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz & funky noise, with some cuts that are spacey, and others that are nice and funky.' ~ dusty
lately when i make a new jazz discovery, assimilate the sounds & decide i might wanna spread the gospel to you good peeps, a quick search in the engine reveals many a classique joint was owlready ushered into interwebular consciousness by one of several seminal jazz blawgs, whose illuminating arkhives will spread yer awareness like a fan. unfortunately, i seem to be about 3 years too late on some of the links when i trawl thru the backpages, but occasionally stumble upon a few rips in a roundabout way. thus, i am excited to bring you yet another pearl from the essential orgy in rhythm dustbin, on the groundbreaking saravah imprint. bacoso sez: 'Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it. Recommended.' & eyed hafta humbly concur with that assessment. dear professor leary from a few years earlier comes highly recommended as well. 320 remerciements à la révélateur d'origine. further
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