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| 4.401 Ft
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| 1. | Mathnawi
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| 2. | Dragons
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| 3. | Memories
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| 4. | Sherrif Sam (Sound by Law)
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| 5. | Undercurrent
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| 6. | Shadow World
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| 7. | Nohmusic -- Ashirai Pattern
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Jazz
Faruq Z. Bey - Flute, Sax (Alto), Sax (Soprano), Spoken Word, Translation
Northwoods Improvisers
Leonard Bukowski - Contralto Clarinet
Mike Carey - Flute, Sax (Tenor), Spoken Word
Mike Gilmore - Cheng, Marimba, Vibraphone
Mike Johnston - Bass, Cover Art, Design, Percussion, Sho
Mike Khoury - Executive Producer, Violin
Nick Ashton - Drums, Percussion
* Don Barber - Photography
* Tim O'Brien - Engineer, Mastering, Mixing
"The Michigan-based Northwoods Improvisers collective meld the largely undefined sounds of world music with jazz stylizations. Here, multi-reedman Faruq Z. Bey of the Detroit area band Griot Galaxy resides as the featured soloist. Vibist Mike Gilmore and the percussionists' swarming rhythms -- featuring standard drums and worldly instruments -- provide the generally brimful undercurrents. On the opening piece, titled "Mathnawi," the band jumps out of the gate with a peppery ostinato groove, largely due to Mike Johnson's well-defined acoustic basslines. Bey resides as a forceful presence throughout, evidenced by his soul-searching choruses, wrapped around a robust tenor sax tone. At times, memories of latter-day Coltrane come to mind. And while the artists do not reinvent the proverbial wheel, this effort is brimming with motivated performances consisting of swirling pulses and a distinct sense of fluency. It's an up-tempo extravaganza that adheres to the free jazz idiom, accented by a series of abstracts and torrid flows. Moreover, Gilmore's vibe work nicely contrasts his fellow soloists' lofty excursions, while richly stated textures abound in concert with the group's soulful approach to free-form inclinations".
---Glenn Astarita, All Music Guide
Faruq Z. Bey
Active Decades: '80s, '90s and '00s
Genre: Jazz
Styles: Avant-Garde Jazz, Free Jazz, Modern Creative
One of the visionaries of Detroit's modern jazz scene, saxophonist, flutist, composer and poet Faruq Z. Bey has faithfully carried on in the post-John Coltrane era as a unique and original performer, enduring cultural, sociological and physical difficulties that would have stifled a individual of much less strength and fortitude. Born in Jesse Davis in Detroit, Michigan February 4, 1942, Bey's parents were vocalists in church and gospel choirs, his father a city bus drive, his mom a stay-at-home housewife. His cousins Charles Rowland and Sherill Rowland were also musicians. The eldest of five children, Bey grew up in the Conant Gardens district, was educated in the public school systems, attending Holy Ghost, Atkinson secondary schools, Pershing and Wilbur Wright High Schools, studied existentialism at Wayne County Community College, and was a disciple of the Moorish Science Temple. Originally trained on the upright string bass, one of his music instructors in school was pianist James Tatum. A neighborhood influence was legendary rhythm and blues singer Eddie Floyd when he was with the Falcons. He heard the John Coltrane/Pharoah Sanders ensemble at the Drome Lounge in 1966, a year before Coltrane passed away, and it profoundly changed his life. So did the infamous race riots in the summer of 1967. Bey was a serviceman in the Air Force, and upon release, changed his name to Malik, then Faruq Zinji Bey. In the late ‘60s-early ‘70s, Bey emerged as a member of the developing progressive jazz scene, and participated in concerts sponsored by the Detroit Artists Workshop and the Creative Arts Collective. As a member of the Bey Brothers with Sadiq Muhammad and Jalil Bey (all who adopted the surname) they played regularly at the Concept East Theatre. He performed prominently with drummer Roy Brooks, Sun Ra's Arkestra and various bands like Black Choreology, the First Afrikan Primal Rhythm Arkestra, As (Is), the World Space Ensemble and Onyxz. Originally established in 1972 with Elreta Dodds, Kenn Thomas and Kofi Patrice Nassoma, the seminal progressive jazz ensemble Griot Galaxy was founded by Bey. The group changed to sport a three-horn front line with David McMurray and Anthony Holland, supported by guitarist A. Spencer Barefield, bassist Jaribu Shahid and drummer Tani Tabbal. As Detroit's answer to the Art Ensemble Of Chicago, Griot Galaxy stood club and concert audiences on their collective ears with a fiery, passionate and driven multi-layered and polyrhythmic music that was revolutionary for its time in the 1980s. But health and physical issues due to a serious motorcycle accident plagued Bey, and when Griot Galaxy was disbanded in 1991, the saxophonist in recovery was determined to forge new pathways for expressionism. He formed a partnership with the Northwoods Improvisers from mid-Michigan, merging their world fusion sound with his creative concepts. The combination added saxophonists Mike Carey and Skeeter Shelton to revive the three saxophone collective that made Griot Galaxy such a potent band. As Bey's health allowed, he also formed several new groups including the Conspiracy Winds and Speaking In Tongues, has accompanied M.L. Liebler's Magic Poetry Band, Hakim Jami's Street Band, Kindred with keyboardist Kenneth Greene, Ajaramu, bluesman Robert Jones, and is a member of the Odu Afrobeat Orchestra. Bey has published poetry compendiums "Year Of The Iron Sheep," "Etudes In Wanton Nasses," and the theory instructional "Toward A Rational Aesthetic."
---Michael G. Nastos, All Music Guide |
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