 |
|
With the enormous surge in interest in the
non-percussion instruments and music of West Africa in recent
years, it’s quite amazing that this is the first recording
to feature the fula (or peul) flute of the Fulani peoples. Like
the kora, up until recent times this instrument, also known as
the tambin was primarily one of accompaniment or of solace for
the lonely herdsman. The sound of the tambin is quite unlike that
of the classical flute. In the hands of the master practitioners
it is capable of producing vocal and multiphonic effects, not
dissimilar to the way that a gifted jazz flautist may fuse these
elements into his/her improvisations. Bailo Bah is a master musician
who hails from Senegal.
The pieces presented here are from both the Fulani and Mandinka
repertoire and are very varied, ranging from haunting ostinato
pieces to complicated interactions between balafons and kora.
Acoustic bass can be heard on one track while berimbaus are incorporated
on another adding a unique but appropriate tone to the overall
sound. The melodies are beautiful, simple yet often expanding
into rhythmically complex variations. Although quite different,
the moods engendered by Fula Flute remind me of the brilliant
‘Matchowe’ by Guinean saxophonist Momo Wandel Soumah.
This is probably emphasized by the one original number on the
album the beautiful ‘Teriya’ which evinces a similar
modal intensity that might call to mind the music of John Coltrane.
A groundbreaking and exhilarating record with the minor caveat
that just occasionally the superb sonic quality of the recording
can add a startled air to Bailo’s vocal interjections or
the pristinely captured sounds of the balafon. I’m not sure
that African music is meant to be heard that way. But then that’s
just me. Highly recommended.
