REVIEW: Julian Douglas "Talafawa"

As a child, Julian Douglas absorbed a variety of Western musical sounds heard in his household, including jazz, progressive rock, funk and more.  Inspired by his father, who listened to music with an ear for detail, he began to dissect percussion parts in songs, attempting to reproduce them on makeshift instruments found around the house.  Douglas’ love of percussion deepened when, in his twenties, he began to explore and study the music of artists such as Carlos Santana, Babatunde Olatunje and Peter Gabriel.  As a result, his artistic expression gradually became a fusion of his earlier influences and new found Afro-Cuban and African rhythms and compositions.  Douglas co-founded the avant garde world percussion ensemble Rhythm Quest during the time that his scope of influence was broadened to included music of India, the Middle East and other cultures.  Rhythm Quest went on to release the critically acclaimed Excursion as Douglas continued develop his playing through performance and expanded his involvement to include teaching and facilitating workshops throughout the northeast and midwest of US.  Collaborations with artists such as saxophonist Greg Osby, the World A Capella Vocal Ensemble and Turkish Sufi musician Latif Bolat were also crucial to Douglas’ growth in terms of composition and arrangements.  With the disbanding of Rhythm Quest in the late 90′s, Douglas branched out to include large ensemble percussion composition with a focus on incorporating various and disparate elements within rhythmic frameworks.

Talafawa represents the coming together of various influences, elements and perspectives that make up the artistry of Julian Douglas at this point in his global journey.  As such, the album makes for a fascinating amalgam of original expression.  Rather than seeking to replicate a broad variety of musical styles, Douglas approaches the music as a painter with an increasing palette of colors, standing before an empty canvas and making no assumptions.  That said, he clearly has a respect for tradition and the result is an authentic and highly creative body of work.  Douglas’ ability to marry rhythms, textures and styles may indeed appeal to fans of such groups as Baka Beyond and at times, Kronos Quartet, particularly with their Pieces of Africa album.  With the world becoming smaller through technology, Talafawa may indeed serve as a sort of soundtrack or travel journal for this global village called Earth.


Featuring the meditative lead vocals and harmonies of Stephanie Heidemann, the title track brings together a refreshing variety of rhythmic percussion, synthesizer and South African-influenced backing chants.  For all of the many pieces within the composition, Talafawa breathes with airy melodicism and timbral variety.  “Ozlem”, rich with Middle Eastern influence, courtesy of Dena El Seffar masterful playing on violin, viola and joza, is mystical and exotic.  African-rooted rhythms and colors and vocals also factor into the equation to produce a lush and cohesive piece that progresses emotionally as energy builds, and then fades to pleasant calming effect.

Not unlike the work of bassist John Patitucci on his Line By Line album, where he fused progressive jazz with small string ensemble, “Nanga Mai” is a moody and deceptively complex piece.  As the buoyant and fluttering flute of Tom Walsh floats above vamping string chords, the growling quality of Michael Rutherford’s berimbau slides beneath the mix.  Seamlessly introduced, Douglas’ choices of varied percussion provide a firm yet nuanced foundation. “Nanga Mai” serves as a showcase for the exceptional production techniques heard throughout Talafawa as timbres, textures and open space are allowed to function in cohesion.  Clocking in at over nine minutes, “Nanga Mai” is an imaginative and brooding piece that effectively brings together world beat, classical music and improvisational jazz.

The pensive “Akasha” is a sparse piece, providing ample space for Douglas’ frame drum soloing over ominous droning synthesizers.  A throbbing, Native American-sounding bass drum pulse adds to the skeletal structure as the faint and tranquil sounds of a brook gently trickle in.  “Tiempo Azul” continues to explore a pervading darker theme,
this time incorporating the natural sounds of insects and birds.  Douglas brightens things up just a bit with delicate cymbal strokes as Corey Smythe contributes thoughtfully sparse piano notes and chords that offer an interesting counterpoint.  The overall effect is as overcast skies with slivers of sun poking through now and then as Douglas gradually layers in various hand drum patterns and percussive accents.

On the appropriately titled “Devotion,” a 12th century Hildegard of Bingen Christian liturgical piece, sung exquisitely (in Latin) by Heidemann, forms the basis of the piece along with a traditional Ethiopian Pygmy composition.  Rhythmically, things shift after a lengthy intro and an assortment of stringed and percussion instruments are added.  The mood is somber, almost to the point of mournful, as additional vocals are introduced and carefully arranged in harmony and rhythm.  “Devotion” is a fascinating marriage of ancient lyrics and melodies with sensitive yet adventurous experimentalism.

“Subaha” once again features El Seffar, this time only on viola, adding distinctly Middle Eastern flavors in tastefully understated yet soulful fashion.  Douglas seasons the pot nicely with frame drums, string plucks and subtle percussive elements.

With the release of Talafawa, Julian Douglas brings together his love and respect for various styles, cultures and traditions, and beautifully marries them to varying degrees to present a gorgeous collection of pieces that will especially appeal to those who crave such a fusion.  Lovers of experimental and modal jazz, African and Middle Eastern music and classical may all indeed find reason to indulge in these rich explorations.

Review by Mike Roots
Rating: 5 stars (out of 5)

A New Way of Living

 "Therefore I urge you, brethren, by the mercies of God, to present your bodies a living and holy sacrifice, acceptable to God, which is your spiritual service of worship. And do not be conformed to this world, but be transformed by the renewing of your mind, so that you may prove what the will of God is, that which is good and acceptable and perfect." (Romans 12:1-2)

In Paul's letter to the Romans, he found it imperative to address the need for a new way of thinking, a way that was much different from the world that they lived in.  Of course, we find this matter being brought to the forefront throughout scripture. Yahweh continuously warned Israel against adapting the ways of thinking and living practiced by the nations that existed around them.  In Psalm 1, David spells out clearly that there are two ways of living; one is to follow the Lord and His ways and the other is to ascribe to the counsel of the ungodly.  It almost goes without saying that Jesus spent much of His teaching ministry drawing clear distinctions as well.  He said His followers were to remain in this world but not be of this world. Further He spoke of those following Him as farmers who put their hands to the plow, looking forward and not backward.  He also said that darkness has no fellowship with light.  A great deal can be said about the enormous emphasis Almighty God has placed on this theme throughout scripture, from Genesis to Revelation.

It's a serious challenge to be able to live in a place where philosophies, values, objectives and ideals are often far removed from those of God.  Paul makes an interesting point by telling the Romans, and all followers of Christ, that they should not hold their lives to the standards and expectations of the culture that they were surrounded by.  Conformity to this world will always find support from the majority, but Paul is instructing us not to use the world's expectations and standards of acceptability as our measuring stick.  The measuring stick for followers of Christ is the inexhaustible wealth of facts, wisdom, instruction and counsel that make up His word, preserved for us in the Holy Bible.  The Word, coupled with the Holy Spirit's working within believers, has transforming power. This transforming occurs through a renewing of mind.  Popular consensus might dictate that compassion is fine as long as it is practiced out of convenience.  Jesus said we should love our neighbors as ourselves and that we should help whenever it is in our ability to do so.  The world may say that there is nothing wrong with lust, and that overt sexuality is a show of security.  On the other hand, Jesus said if a man looks at a woman in lust he has committed adultery in his heart. Our society may dictate that education, career and a high-paying job are the defining points of true success and the "making something of oneself".  Jesus said there is no profit in gaining the whole world and losing one's soul.  He said if we're to be rich, we need to be rich toward God and rather than placing emphasis on great worldly wealth, we should store our treasures in heaven.

God's ways and the world's ways are always clashing, though, unfortunately, we often try to reconcile them.  I believe we as believers need to have a keen sense of awareness of the differences and not allow our lives to be shaped and characterized by just going with the flow.  Going against the flow is not easy; it requires energy, determination and perseverance.  Thankfully, God provides His Spirit to live inside believers, therefore giving us power to accomplish what we never could on our own.  May we strive to cooperate with God, the Potter, as He desires to shape us and make us into the peculiar people He intends; people who will endeavor to know and love Him, to live to His standards and represent Him to others, showing them the Way.

REVIEW: Jeff Scott "Begin Again"

Detroit native Jeff Scott took to music at an early age; so early in fact, that he formed his first band (Nimbus) at the age of 12.  Now while that may not be the experience of every kid, it’s not altogether uncommon.  But forming a nine-piece band with a full horn section? Now, that’s uncommon.  The young Scott did just that, and within a few years found success with plenty of gigs on the local scene.  Over the years, Scott became a seasoned performer, collaborating with the likes of Earl Klugh, Ursula Walker, Perry Hughes and others in Detroit’s community of jazz artists.  Along with singer/songwriter Duane Allen Harlick, Scott went on to establish The Big Picture, a six-piece unit whose sound developed into a unique and accessible blend of soul and pop.  As the house band in a city club, The Big Picture refined their sound by playing regularly and eventually went on to much larger venues, having the opportunity to support such musical giants as Smokey Robinson, Hall & Oates, Eddie Money and Richard Marx as an opening act.  The band later recorded an album and added regional festivals to their list of venues, gaining further popularity and attracting attention from industry professionals in both New York and Los Angeles.  In order to pursue different opportunities in the creative sense, Scott left The Big Picture.  Co-produced by Scott and Mark Heckert, Begin Again signals Scott’s solo debut.

Jeff Scott’s voice is like a good cup of coffee; robust, rich and smooth.  Think BJ Thomas, Darius Rucker, Gordon Lightfoot and at times, Eddie Vedder. Begin Again is a well-crafted body of songs blurring the lines between rock, soul and folk, and effectively showcasing Scott’s voice and lyrics.  With the use of acoustic and electric guitars, organ, piano, and strings and horns, this album bears evidence that Scott’s early penchant for a full and orchestrated sound has not diminished.  What is equally true is that he is adept at using open space, and is clearly a sign of artistic sensitivity and maturity.

The title track is a sunny, soul-infused folk rocker bringing to mind Jackson Browne’s piano-driven “Running on Empty.”  Lyrically, “Begin Again” is reflective and optimistic, as Scott sings “I don’t know what the future holds, but I know I want to go.“  Determined not to allow the past to imprison him, Scott asserts his desire to live each day in the present and look to the future.  “Route 17″ is the dark and brooding tale of a place called the Classic Cat where “Faith, Hope and Charity are not to be seen.” The main character in the song is a young lady named Angelica who has apparently ended up working as a prostitute upstairs from the bar.  As Scott sings “your last stop is here on Route 17,” there is a strong indication that this place is very much a dead end.  Though it’s not certain, the lyrics seem to suggest Scott is placing himself in the character of Angelica’s guilt-ridden customer.  A mid-tempo rocker, “Route 17″ serves as a graphic and unadulterated look at the dark and seamy side of life as some know it.

With crisp acoustic guitars and a throbbing bass line, the self-deprecating “Break My Heart” is a highlight, even as Scott sarcastically paints himself as the willing dumpee in a dying relationship.  You can’t help but sadly smirk at lyrical gems like, “It’s as good a day as any to say goodbye / I’ve got nothing on my calendar except to cry / These tears that I’ve been saving, ready to let go / I can’t hold them back forever, so it might as well be now / Go ahead, say good bye.” Scott knows she’s made up her mind and there’s nothing he can do to change it.  “Break My Heart” is simply thoughtful, radio-friendly pop.

The gorgeous “Don’t Throw Away Today” is a jazzy, bossa nova-influenced track in the vein of Bill Withers.  Gentle percussion, piano, strings and subtle chord changes provide the ultimate backdrop and accompaniment for Scott’s rich vocals as he caresses notes while offering words of comfort and encouragement.  With a heart of compassion and the wisdom of experience, lyrics such as “life’s always brighter on the other side / But these few moments can make a difference in your life / A wise man said each and all of us just get a certain amount of time / So as the seconds tick away upon the clock / Oh, what you gonna do with the time you’ve got?” come across as fresh and relevant, and never trite.

With understated Pan-African percussion, jazz-inflected piano and muted trumpet and slide guitar, “Old Silverback” with its blues-based feel, would fit comfortably on a Bonnie Raitt album, should she ever decide to record it.  The clever use of said percussion is perfectly fitting as the song’s main character, figuratively and humorously referred to as a gorilla, sees life as “nothing but a jungle.”  Scott’s soulful singing is amply supported by female backing vocals, revealing yet another facet of Begin Again.

On the witty “Things Change,” he ruminates on how one’s assumed invulnerability and superiority can just as easily give way to the harsh realities of life, offering a valuable lesson.  With ranging lead and backing vocals and tasteful instrumental backing, “Things Change” is melodically easy on the ears.  It’s also good songwriting as Scott’s first-person narrative and thoughtful lyrics suggest he is the one who has gleaned much through experiences both good and bad.  In the final analysis, one gets the sense that he is able to smile, having lived through and learned from it all.

“Meet Me Halfway” is a lovely acoustic ballad, filled with humble yearning for reconciliation.  Offering words of comfort and encouragement, Scott shines as he is really in his element here as a singer/songwriter.  Not enough can be said regarding Scott and Heckert’s production skills, not only on this song, but the entire album. He simply allows Scott’s voice to be the brilliant instrument it is by making it front and center while the musical backing brings just the right enhancement.

An aching ballad, “Your Sure Thing” incorporates just a hint of Nashville into a tasteful adult contemporary sound.  Scott’s fresh and thoughtful take on the traditional “Shenandoah” is superb as he gently layers his rich and sturdy voice over piano chords and strings, yielding a folk/jazz masterpiece.  “Nothing But Goodbye”, with its melancholy pedal steel fills, is a powerful tale of a broken relationship reaching its painful conclusion.  Scott paints a vivid picture as he sings, “She doesn’t need to say a word / She just steps back and lets him in / He sees the dinner on the stove / He sees the suitcase in the hall / He sees the look upon her face / He sees the writing on the wall / And this time, there won’t be another time/And it ain’t worth another try, cause this time, there ain’t nothing but goodbye.”


Commitment to family through thick and thin provides the lyrical basis for “We Will Call Home” as Scott’s comforting vocals find the combination of tasteful organ, piano and violin the ideal compliment.

Whether or not it reaches the audience it deserves, Begin Again clearly has the makings of a classic album.  Filled with exquisite songwriting, singing and instrumentation, Jeff Scott’s solo debut reveals the craftsmanship of an artist passionate about life and his desire to express it in song.  His maturity is reflected not only in his writing, but in his apparent comfort in the blending of pop, jazz, folk, soul and country to produce a highly original, meaningful and entertaining work.

Review by Mike Roots
Rating: 5 Stars (out of 5)

Reggae Explorations TONIGHT 7-9PM

Tune in to WAPJ 89.9 & 105.1 FM from 7:00-9:00PM for
a great selection of conscious roots reggae music!

REVIEW: Souljah Fyah "I Wish"

When it comes to reggae music in Canada, the center of the scene is pretty much in Toronto with its large West Indian population.  Although the genre has artists and fans in virtually every corner of the globe, Edmonton is certainly not considered a haven for reggae.  Even so, Edmonton’s Western Canada Music and Canadian Reggae award-winning band Souljah Fyah has honed and refined their brand of roots over the years by playing numerous festivals and other venues, developing a distinct style and earning a following of their own.

Fronted by Janaya “Sista J” Ellis, Souljah Fyah presents their third studio offering, I Wish.  As the sole lyricist and lead singer, and co-writer along with the the rest of the band, one might argue that Ellis is their face and voice.  As such, her vocals are clear and strong, sometimes sweet but often urgent, even to the point of militant.  At varying points her articulation sounds either Canadian or American, while at other times clearly rooted in her Trinidadian heritage.  All members of Souljah Fyah are free to bring their own artistic expressions to the table, and as a result I Wish is an album based in roots reggae, but including elements of rock, folk and African music.

I Wish kicks off with the title track, which features an Asian-flavored keyboard intro before settling into a nice one-drop beat.  Communicating a yearning desire to be a greater part of the solution to the world’s ills, Ellis sings “This world steady crying for a remedy / Diagnose something seriously / I and I prescribe simplicity.” Right off, Ellis reveals her vocal versatility as she incorporates a deejay-style chanting into the mix.  Razor-sharp distorted guitar riffs and accents add a sense of urgency to the message in what amounts to be an effective and infectious start.  With “Dirty Hands”, Ellis addresses someone who portrays himself to be someone he isn’t, apparently with a rather thin disguise.  Based in a classic roots sound, there are a few well-placed crunchy guitar riffs and a climbing bridge which builds the intensity.  Revealing a bit of growl in her voice, Ellis convincingly shows she could sing rock just as well as reggae.


On “8 Days of Summer,” Souljah Fyah features a duet with Ellis and drummer Dorant “Saint” Ricketts, who contributes surprise deejay vocals which he lays down as smooth as butter.  Reflecting on the cold climate and shortness of the summer season in Canada, they sing of their commitment to putting Edmonton on the reggae musical map.  With it’s sing along chorus and reggae-rock fusion, “8 Days of Summer” has the crossover potential to appeal to fans of No Doubt and Sublime, and the now-defunct Temple Yard.

Backed by piano, drums, violin and cello, “Watch it Go” further blurs the lines between rock and reggae.  With fiery intensity, Ellis contemplates suffering, the value of life and the importance of using one’s time wisely in order to effect change.  “Tears of a Fool” is apparently the tragic tale of a woman stuck in an abusive relationship.  With “You don’t know him she said as she turned and walked away” and “Wish I could be in your head for just one day / Give you the strength that you need to walk away“, Ellis seems to be offering encouragement to someone to escape the abuse.  “Freedom Seeker” is a lovely and bittersweet acoustic ballad that would sound at home on one of fellow Trinidadian artist Avion Blackman’s albums, and on rock and adult contemporary radio formats.  Here, Ellis showcases the sweetness of her vocals with musical backing that matches them perfectly.

“Behind that Face” is straight forward roots.  Lyrically, it conveys a common theme of I Wish in addressing one who is either hypocritical or who has betrayed trust.  “Something Beautiful” offers a refreshing jazzy highlife rhythm.  Brett Miles adds gorgeous saxophone and flute while supported by what sounds like a crack West African rhythm section and flavorful keyboards.  Ellis shows tasteful restraint as she offers just a sprinkling of vocals here and there.

The nyabinghi foundation and comforting message of “Jade’s Lullaby” supply I Wish with yet another form of musical expression, adding a welcomed emotional shift.  “Perfect People” is perhaps the brightest sounding of all the pure reggae tracks here and offers a message of hope and encouragement, particularly in the spoken word vocals Ellis delivers as the song comes to an end.

Overall, I Wish is a fine display of artistic expression with a band working from a base of Reggae but not confined to the genre.  If there is anything wanting in the album, perhaps it’s that Ellis would better articulate the solutions and point listeners to a transcendent source of hope, strength and redemption.  Janaya “Sista J” Ellis and Souljah Fyah are a formidable musical force and one can only look forward to what is to come.


Review by Mike Roots
Rating:  4 stars (out of 5)

REVIEW: Dennis Ty "A Long Way Home"

When it comes to the realities of war, the American songbook is certainly not silent on the topic.  The majority of the sentiment expressed in such songs seems to lean toward the opposition of conflict and the inherent tragedy that comes as a result.  Less seems to be said from the viewpoint of those on the battlefields, in the trenches or otherwise serving and doing their best to make good come out of the agony and suffering.  Enter Dennis Ty.  Presenting a collection of songs that serve as a document of such an experience and vantage point, Ty speaks firsthand from his fifteen months serving with the United States Marine Corps as a trainer of Iraqi border guards.  

Whether it’s the shock and pain of witnessing tragedy up close, the glimpses of hope amidst the chaos, or the longing to be with family, A Long Way Home offers refreshingly balanced insight free of political spin or protest.  In collaboration with multi-instrumentalist Jeff Muller (formerly of Occam’s Razor), Ty was able to put flesh and muscle on these songs that were written and recorded over a two-year period.  The resulting sound is multifaceted with shades of roots rock, folk and country, and hints of blues and soul.  Possessing a voice reminiscent of Darius Rucker, Ty delivers an album that fits comfortably between the sounds of Hootie & The Blowfish and Bruce Springsteen.

The lead off track, “Gonna Have,” combines country rock and a gospel feel with Oak Ridge Boys-like backing vocals.  With optimism despite circumstances, Ty sings “gonna have war no more / gonna have a song that soars up the charts like a rocket ship up to Mars / gonna have a love that grows and a son that knows that his Daddy will make it home alive“.  “Gonna Have” is gritty, hopeful and infectious with an energy that matches the lyrical expression.  Ty then gets downright Hootie-esque with the upbeat “Baby Babe” as he sings of looking forward to being reunited with his lover.  What is surprising is how effective and complete the song is, despite clocking in at less than two and a half minutes.  With faint echoes of the Eagles and perhaps Lynyrd Skynyrd, the down tempo “Checkpoint Sarah” is the tale of a soldier responsible for “guarding the night”.  Infused with a combination of acoustic strumming and southern-fried lead work, Muller’s guitar accompaniment is spot on.  Further, Ty demonstrates his considerable vocal range as sympathetic backing vocals provide ample support.

“In Children’s Eyes” speaks of the motives of war and offers incentive for resolution found in the hopefulness of children.  Angela Pratt adds piano to Muller’s heartland rock to add brightness to the message of mankind “rolling up their sleeves and leaving the hatred behind”.  The acoustic intro of Lil’ Girl” offers Ty an ideal foundation for his bittersweet story of a child and mother caught in the crossfire of conflict. Unexpectedly, the song transitions into roadhouse blues-rock that articulates a perspective closer than what is obtained by watching the news or reading a typical newspaper account.  The lyrics are unsettling: “When your hopes and dreams and all your schemes flash right before your eyes / and the lows and highs of all the lives cut short if you die / but you see the end and your body in that burned out Humvee / and you know that coming home is not in your destiny / i am so afraid to go to sleep, then she holds my hand, the little girl on the street / Spread your wings little girl and fly away from this place”. With “Lil’ Girl”, Ty shares a tragic snapshot filled with graphic description, countered only by the chugging tempo.

“Back Home Time,” with lyrics quoting the title of the album, is Ty’s poignant and melancholic, stately centerpiece.  Contemplating the geographical and emotional rift as he is “burning time in a strange land,” he imagines the day to day activities of his family in his absence.  “Back Home Time” is a startlingly transparent look at what a soldier might be feeling while separated from his family.  It’s as if the listener is getting a peek into Ty’s private journal.  In the genuinely touching “Do You Think He Cries,” Ty wonders what God thinks as he sees violence, injustice and suffering. “Does He wish that we could be more like Him/Do you think He cries?” To say the message is challenging would be putting it mildly, yet Ty is careful to leave room for thought and consideration.

Supported by Pratt’s piano, “The Gardener” is a plaintive piece which seems to leave its lyrics to interpretation.  Is God the gardener being referred to?  That the song lends itself to such reflection is indeed a strong point.  Ty ends the album with an exclamation point with the blues boogie of “Ameristan” as he sings about the sacrifices made in order for Americans to enjoy the freedoms that exist, and how such sacrifices are still necessary in order to protect us and help ensure stability in Afghanistan and Iraq.  It seems only right that Ty would save his most political statement for the end so as to keep the attention of his audience with stories and themes of universal appeal, regardless of one’s opinions.

With a A Long Way Home, Dennis Ty delivers a fresh, yet familiar sounding body of songs that offers a rare, sensitive and passionate glimpse into a soldier’s journal.

Review by Mike Roots
Rating:  4 stars (out of 5)