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)
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