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Pure loveliness. Proper music-making,
DIY Classical, but nothing slapdash or posey. Intimate and tentative, seamed with risk, occasional mis-steps, dodgy tuning, minor technical fuck-ups; but driven by gripping, stilled dedication and deep musical understanding.
Double bass, electric guitar, flute, melodica, singing; recorded at home in NYC, on dodgy gear, with snug, woody, shhshh-ing, analogue-style ambience.
The trio hovers between cheerful relish — who’s that giggling at the back — and hushed, humble reverence, basking in the processes of musical communion and learning. They play like they are gingerly passing on a precious, fragile gift; but without prissy conceit.
Luminous selections from the last six hundred years — John of Dunstable meets Friedrich Nietzsche — are lovingly arranged by the group, with a bent for stripped-to-the-bone, emotionally restrained sublimity, steady as she blows.
Very warmly recommended. Soul food.
Headlong, fierce, banked rasta drumming fit to discombobulate any kind of system, with sweet, jazzy trombone riding it down, bubbling bass driving it home, and all of it classically dubwise.
Wareika Hill Sounds is the contemporary roots reggae project of Calvin Cameron — mainstay of the original Light Of Saba line-up, the genius behind Lambs Bread Collie — who to this day lives above the headquarters of the Mystic Revelation Of Rastafari, in the Wareika Hill district of Kingston, Jamaica.
In the great pedagogical traditions of the multi-cultural Light Of Saba, and before that Count Ossie, this new recording runs together two JA musical traditions — a kind of drumming (and drum) brought from the Congo, and the island’s variation of calypso — into a thundering grounation charge. As always, the Skatalite’s trombone-playing is majestic: deadly, gripping, deeply cultivated.
The dub is tremendous, too.
Last box!