The Gaylords – Let’s Have A Pizza Party (1958)

FrontCover1.jpgThe Gaylords were an American singing trio, consisting of Ronald L. Fredianelli (who changed his name for performances to Ronnie Gaylord, taken from the group name), Bonaldo Bonaldi (who also, in 1976, changed his name to Burt Holiday, at which time the group became Gaylord and Holiday), and Don Rea (who had left the group by the time it became Gaylord & Holiday).

Fredianelli was born on June 12, 1930, in Detroit, Michigan. They formed the Gaylords (originally The Gay Lords) in Detroit in 1949.

The group’s name was decided upon after a chance encounter with Marcus Wren.

In the 1950s the group had a number of Italian-flavored hits on the charts, often consisting of a song partly sung in Italian and partly in English. Their most successful release was “Tell Me You’re Mine”, which had sold over one million copies by 1958. “Tell Me You’re Mine” reached #3 on the US chart.

Gaylords01As Gaylord and Holiday, the two remaining members of the group continued to perform until 2003.

Fredianelli died on January 25, 2004 in Reno, Nevada. Bonaldi still performed with Ron Gaylord, Jr., Ronnie Gaylord’s oldest son (the other son being rock guitarist Tony Fredianelli) until his death on May 10, 2017 in Carson City, NV.

Donald “Don” Rea, keyboardist for The Gaylords, born in Detroit, Michigan, on 9 December 1928, died in Reno, Nevada, on 30 June 2017 after a short battle with cancer. (by wikipedia)

A pre-rock white vocal trio, the Gaylords had a series of hits from 1952 to 1954 with novelty flavored material and Italian-derived love songs. It’s difficult for the latter-day listener not to associate the records with the kind of background music you might hear at the average pizza parlor. In its day, however, it was not background fodder, but highly commercial fare that was cleanly executed and unreservedly sentimental, wearing its heart on its sleeve as surely as excess tomato sauce on a napkin.

Formed in Detroit, the group, featuring Ronnie Fredianelli, Burt Bonaldi and Don Rea, made number two in 1952 with their debut outing, “Tell Me You’re Mine.” Derived from an Italian ballad, the song was originally recorded as a disc to be sold at Bonaldi’s father’s store. The engineer on that session was impressed enough to help pitch the act to established labels, and the trio ended up with Mercury. After a couple more hits, Fredianelli was drafted into the Army, changed his name to Ronnie Gaylord, and began recorded for Mercury as a solo vocalist. The Gaylords decided to keep going, recruiting Billy Christ as Ronnie’s replacement.


“From the Wine Came the Grape,” “Isle of Capri,” and “The Little Shoemaker” were all big hits for the Gaylords over the next couple of years. Ronnie Gaylord had a big hit of his own with “Cuddle Me,” and got in on the rock & roll cover game with a version of Fats Domino’s “Ain’t That a Shame.” The rock & roll revolution, however, made groups such as the Gaylords passe, although they continued to record for Mercury into the ’60s. Burt Bonaldi, after changing his name to Burt Holiday, formed the Gaylord & Holiday duo with Ronnie Gaylord. The pair even had a tiny hit in 1976 with “Eh! Compuri,” recorded for, of all things, a subsidiary label of Motown. (by Richie Unterberger)

And here´s their third album … I gues, The Gaylord was a important of the Italian-American music history …

It´s a nice lbum and I include a very interesting interview about the history of The Gaylords.


Burt Bonaldi (vocals)
Ronnie Fredianelli (vocals)
Don Rea (vocals)
a bunch of unknown studio musicians


01. Ah Marie (Barlow) 2.17
02. Neapolitan Nights (Zamecnik/Kerr) 2.52
03. Quando Mi Bacio Teresa (Raimondo/Gianipa) 2.39
04. Ti Volgio Tanto Bene (de Curtis/Furno) 2.49
05. Sicilian Tarantelle (Balsamo/Conn) 2.16
06. La Romanina (Lazzaro/Michell) 2.33
07. Bionda Biondina (unknown) 2.04
08. Scrivimi (Frati/Raimondo) 2.02
09. Sbarazzina (Lazzaro/Frati/Bruno) 2.11
10. Pansy (Rendine/Pisano) 2.09
11. Carmela (Stone) 3.05
12. Non Ti Scordar Di Me (Say You Will Not Forget) (Wimperis/de Curtis) 2.38



Various Artists – Sacred Souls – A Hunting Selection Of Traditional And Contemporary Native American Music (2001)

FrontCover1The tracks featured on this compilation have all been selected from the vaults of Canyon Records. Formed in Phoenix, Arizona in 1951 Canyon Records was the first company to market albums specifically to Native Americans. From an initial recording of Ed Lee Natay, son of a Navajo leader and medicine man, by Ray Boley who owned the first recording studio in Phoenix, Canyon has gone on to record over 400 albums of Native American flute music, healing songs, pow-wow, jazz classical and contemporary songs on Native themes.

Until Canyon, most ethnic recordings were for the benefit of scholars, ethnomusicologists and libaries, Canyon released what Native Americans were singing and wanted to listen to, including Country-Western, Rock n Roll, Gospel and “chicken scratch”; the popular dance music of the Tohono O´odham people.


Canyon´s music broke down the stereotypes of what “Indian” music was imagined to be. Our compilation cannot do justice to the enormous wealth of material recorded by Canyon over the last five decades but we hope that the tracks featured highlight some of the many captivating forms and styles of Native American music. (take from the original liner notes)

Indeed … a wonderful compilation … an if you are interested in World Music, than you have to listen … what a magic kind of music !


01. Philip Cassadore: Mountain Spirit Dance (1998) (Traditional) 1.41
02. Clan/Destine: Crazy Horse (1996) (Poocha/Gatlin/Montour/Harris/Sanchez) 5.38
03. R. Carlos Nakai: Shaman’s Call (1987) (Nakai) 2.52
04. Joanne Shenandoah: Mother Earth Speaks (1994) (Shenandoah) 2.33
05. Robert Tree Cody, Rob Wallace & Will Clipman: White Buffalo (1996 (Cody/ Wallace/Clipman) 4.44
06. Keith Mahone: Hualapai Bird Song (1995) (Traditional) 2.18
07. Nakai, Eaton, Clipman & Nawang: A Gathering Of Eagles (2000) (Nakai/Eaton/ Clipman/Khechog) 7.46
08. Sharon Burch: In The Balance (1995) (Burch) 3.10
09. Robert Tree Cody: Lakota Lullaby (1993) (Cody) 5.53
10. Judy Trejo: Manuel Popeye McCloud’s Flag Song (1997) (McCloud) 2.01
11. R. Carlos Nakai: Amazing Grace (1992) (Traditional) 2.19
12. Black Lodge Singers: Intertribal (1997) (Robe) 3.55
13. William Eaton Ensemble, The Drepung Monks & Robert Tree Cody: The Fire Within (1996) (Eaton/Cody/Tulip/Ames/Monks) 7.17
14. Patsy Cassadore: Goodbye, I’m Leaving (1998) (Cassadore) 1.09
15. Robert Tree Cody: Farewell (Aria For Native American Flute) (1999) (Cody) 3.16




João Gilberto – Same (1961)

FrontCover1Here is the third album in João Gilberto’s trilogy of blueprints for Bossa Nova, following his celebrated 1959 debut, Chega de Saudade and it’s sequel, O amor, o sorriso e a flor (Love, a Smile and a Flower).

Produced by Antonio Carlos Jobim and Walter Wanderley, the album combines a splendid Bossa Nova repertoire of Jobim, Vinicius de Moraes and Carlos Lyra originals with Gilberto’s interpretations of songs from Brazil’s musical past.

The performances of these enchanting songs display the full range of João Gilberto’s singular style; the intimate voice and his innovative, linear approach to the guitar that revolutionized Brazilian music and the international pop scene.

On this album João Gilberto was accompanied by Walter Wanderley (orgn) and hisgroup.

And it´s another highlight in the long career of the one and only João Gilberto.


João Gilberto (vocals, guitar)
The Walter Wanderley Group


01. Samba da minha terra (Caymmi) 2.21
02. O barquinho (Menescal/Bôscoli) 3.21
03. Bolinha de papel (Pereira) 1.19
04. Saudade da Bahia (Caymmi) 2.16
05. A primeira vez (Marçal/Bide) 1.52
06. O amor em paz (Jobim/de Moraes)
07. Você e eu (Carlos Lyra – Vinicius de Moraes) 2.31
08. Trem de Ferro-Trenzinho (Maia) 1.51
09. Coisa mais linda (Lyra/de Moraes) 2.52
10. Presente de natal (Noronha) 1.54
11. Insensatez (Jobim/de Moraes) 2.26
12. Este seu olhar (Jobim) 2.14



AlternateFrontCover.jpgAlternate frontcover

João Gilberto – Chega De Saudade (1959)


Influential Brazilian musician João Gilberto has died aged 88.

The singer and composer was known best as a pioneer of the bossa nova genre, which found international popularity in the 1960s.

Reports say Gilberto died at home in Rio de Janeiro after a period of illness. His son confirmed the news of his death in a Saturday Facebook post.

“His fight was noble, he tried to maintain dignity,” Marcelo Gilberto said. )BBC)

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (Portuguese: [ʒuˈɐ̃w ʒiwˈbɛʁtu]; 10 June 1931 – 6 July 2019), was a Brazilian singer, songwriter, and guitarist. He pioneered the musical genre of bossa nova in the late 1950s.

João Gilberto was born in Juazeiro, Bahia, the son of Joviniano Domingos de Oliveira, a wealthy merchant, and Martinha do Prado Pereira de Oliveira. He lived in his native city until 1942, when he began to study in Aracaju, Sergipe, returning to Juazeiro in 1946. At the age of 14, he got his first guitar, given by his father. Still, in Juazeiro, he formed his first band, called “Enamorados do Ritmo”. He moved to Salvador, Bahia in 1947. During his three years in the city, he dropped out of his studies to dedicate himself exclusively to music and at the age of 18 began his artistic career as a crooner at the Rádio Sociedade da Bahia.


Gilberto’s first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s Brazilian singles evolved to the “double compact” format, and João would release some EPs in this new format, which carried four songs on a 45-rpm record.

Soon afterward, Gilberto’s father, upset by his son’s bizarre singing style and refusal to take ‘normal’ work, had him committed to a mental hospital. In a psychological interview there, Gilberto stared out of the window and remarked “Look at the wind depilating the trees.” The psychologist replied “but trees have no hair, João”, to which Gilberto responded: “and there are people who have no poetry.” He was released after a week. The next year (1956), he returned to Rio and struck up old acquaintances, most significantly with Antônio Carlos Jobim, who was by then working as a composer, producer, and arranger with Odeon Records. Jobim was impressed with Gilberto’s new style of guitar playing and set about finding a suitable song to pitch the style to Odeon management.


Gilberto was known for his demanding acoustic and noise-control standards. During a recording session of the song “Rosa Morena”, he insisted on 28 takes to get the pronunciation of the o in “Rosa” just right.[8] Nonetheless, despite his high acoustic standards, he skipped a contractually required sound check prior to a July 2003 performance at the Hollywood Bowl, in Los Angeles. This negligence (and the ensuing sound fiasco) prompted the audience to stream from the venue before the concert ended.

In 1997, Gilberto sued record label EMI over their reissue of several of his early works, which he contended had been poorly remastered. According to The New York Times, “A statement by his lawyer at the time declared that the reissues contained sound effects that ‘did not pertain to the original recordings, banalizing the work of a great artist.” Following the incident, EMI ceased production of the albums in question, and, as of 2008, the lawsuit was yet to reach a decision.


In 2000, Gilberto won the nomination for the Best World Music Album category in the 42nd Annual Grammy Awards for his work in the album João Voz E Violão.

In 2011, he was sued and evicted from an apartment in Leblon by his landlord, Countess Georgina Brandolini d’Adda.

On 17 May 2017, Gilberto received an honorary doctorate in music from Columbia University though he himself did not attend the commencement ceremony.[14]

It was reported in December 2017 that Bebel Gilberto (Isabel), João’s daughter through his marriage to Miúcha, was seeking control of his financial affairs because of his declining mental state and heavy indebtedness.

João Gilberto died on 6 July 2019, in Rio de Janeiro.


Chega de Saudade is the debut album by Brazilian musician João Gilberto and is often credited as the first bossa nova album. The title can be translated roughly as “enough longing”, though the Portuguese word saudade carries with it more complex meaning.

In 2001, the album was inducted into the Grammy Hall of Fame. In the same year, it was made an inaugural member of the Latin Grammy Hall of Fame. It was listed by Rolling Stone Brazil as the fourth best Brazilian album in history.

By the time of the album’s release, newspaper O Estado de S. Paulo stated that Gilberto “is one of the most musical of our popular singers, a certainty which broadly compensates for his lack of volume. In this regard, it is worth noting his interpretation of ‘Desafinado’. Besides, he reveals an unorthodox good taste for the choice of melodies recorded in this first LP and a sobriety in interpretation we have rarely observed”. (by wikipedia)


João Gilberto’s debut LP, 1959’s Chega de Saudade, was one of the most important bossa nova recordings, and credited by many as the album that, more than any other, launched bossa nova as a major popular music genre. The dozen songs add up to a surprisingly short playing time of about 23 minutes, but introduce several of bossa nova’s most beloved trademarks: breezy, soothing melodies and vocals; tight arrangements with seamless blends of clipped guitar strokes and light orchestration, and, of course, the bossa nova rhythm. The most popular of these songs (“Chega de Saudade” and “Desafinado”) had already been released as singles in 1958, but though they might be the most memorable tracks, the album maintains a consistently high standard (if a fairly similar mood throughout).  (by Richie Unterberger)


Milton Banana (drums)
Rubens Bassini (percussion)
Copinha (flute)
João Gilberto (guitar, vocals)
Antonio Carlos Jobim (piano)
Edmundo Maciel (trombone)
Garotos da Lua (background vocals on 04.)



01. Chega de Saudade (Jobim/de Moraes) 2.00
02. Lobo Bobo (Lyra/Bôscoli) 1.21
03. Brigas, Nunca Mais (Jobim/de Moraes 2.06
04. Hô-bá-lá-lá (Gilberto) 2.16
05. Saudade Fez um Samba (Lyra/Bôscoli) 1.48
06. Maria Ninguém (Lyra) 2.23
07. Desafinado (Mendonça/Jobim) 1.58
08. Rosa Morena (Caymmi) 2.05
09. Morena Boca de Ouro (Barroso) 1.58
10. Bim Bom (Gilberto) 1.16
11. Aos Pés da Cruz (Pinto/da Zilda) 1.34
12. É Luxo Só (Barroso/Peixoto) 1.58




Paul Winter feat. Arto Tuncboyaciyan – Journey With The Sun (2000)

FrontCover1.jpgFor 20 years, new age wind player Paul Winter has headlined world-class audiovisual musical extravaganzas celebrating the summer and winter solstices at New York’s Cathedral of St. John the Divine. Most of the contemplative nature of this worldbeat meets new age recording reflects the ambience of the early morning summer celebration, while two songs — the intensely percussive, Middle Eastern-flavored “Caravan at Dawn” and the mystical “Yabu” — come from the 1999 winter show that featured Mickey Hart playing RAMU, or Random Access Music Universe (i.e., an incredible array of electronic sounds). The unique spiritual power of the album derives from vocalist Arto Tuncboyacian, an Armenian whose African-sounding guttural vocals utter phrases in “vocables” from his own personal dialect; this is exotic scat singing at its most creative!


The mystical “Broken Arm” shows the more heartfelt side of his vocals, and the interesting mood swings continue throughout. The joyous jig-like “Mountain Wedding” features the Uilleann pipes of Davy Spillane, and these pipes are used to more haunting effect on “Pas de Deux.” “Singing to the Mountain” is a wistful, folksy tribute to Tuncboyacian’s late brother, who was killed in a plane crash in Turkey.  (by Jonathan Widran)

Arto Tuncboyaciyan is yet another Paul Winter “find.” While Arto has been around as a performer for a number of years, his previous albums, recorded and produced in Armenia and Greece, have not seen wide distribution in the U.S; for all intents and purposes, this can be considered his domestic debut album. He has sessioned with, among others, Oregon, Al DiMeola and Chet Baker, as a percussionist, so he is not a totally unknown quantity. But it is his earlier Athens-produced albums “Onno” and “Tears of Dignity” which provided initial evidence of his remarkable vocal abilities.

Paul Winter01.jpg
The brief title above could well have been called “This Journey is a melismatic trip.” It shows off Arto’s considerable vocal and instrumental skills and his intensity of song, with a near-Eastern flavor that at times is Sufi-like. Of the thirteen tracks on the album, Arto’s voice is featured on seven of them, and it is virtually impossible to pick a favorite. So I’ll pick three, instead: “Caravan at Dawn”(the opening track), “Singing to the Mountain,” and “Oror Bubrik” (the closing track), at some risk of not bringing mention to four other excellent tracks. “Caravan at Dawn” is a riot of vocal and instrumental color, very “Eastern” in its setting and with fine keyboard and percussion support by Jordan Rudess (of Dream Theater) on synthesizer and Mickey Hart on RAMU, his self-invented computerized Random Access Musical Universe, looking (and played) much like some modern-art steel pan. “Singing to the Mountain” features a long introduction by Arto on the sazabo, sounding much like some cross-fertilization of a banjo with a ukelele, and Arto is as good on the sazabo as is Bela Fleck on the banjo. “Oror Bubrik”, the closing track, is as good an album fade-out as “Dawnwalker Reprise” was on Winter’s “Celtic Solstice” album, which is about as fine a statement of praise that I can muster. The richness of the vocal and instrumental textures must be experienced, and Arto’s way with this “closer” is nigh perfect.

Arto Tuncboyaciyan01.jpg

But Journey With The Sun is also a “best hits” album of two years’ worth of recent Paul Winter Solstice Concerts (both Summer and Winter) at the Cathedral of St. John the Divine in New York, so the album also has the contributions of “regulars” such as Eugene Friesen, Paul Halley and Dorothy Papadakos, and “frequent Consorters” such as Davy Spillane, Jerry O’Sullivan, Niamh Parsons, Jim Beard, and of course the redoubtable Jordan Rudess. Winter and Halley once again demonstrate their stranglehold on “cathedral blues” with “Cave of the Winds,” where Winter wails as well as he ever has in his opening soliloquy and Halley trips off on one of his best-ever organ improvisations. Davy Spillane once again serves notice that he is more than just the best improvisational Uilleann piper on the planet; he is the Johnny Hodges of the pipes. Mickey Hart shows off the remarkable capabilities of RAMU in a cute, upbeat track called “Yabu.” There are keyboards (piano, pipe organ, synthesizer) galore, with Halley and Rudess laying down some truly astounding synthesizer tracks. Eugene Friesen is still the best improvisational cellist around, with a nice Friesen/Spillane duet (a fascinating sonic juxtaposition) in “Pas de Deux.” There’s a nice Celtic ballad sung by Ms. Parsons. And two great stomps in “Mountain Wedding” and “Land of the Pipers” to serve notice that not all is tinged with melismatic melancholy. (by Bob Zeidler)


Jim Beard (keyboards on 12.)
Damian Draghici (pan pipes on  03. + 04.)
Eugene Friesen (cello)
Vardan Grigoryan (zurna on 01.)
Paul Halley (keyboards)
Mickey Hart (electronic drums on  01. + 09.)
Zan McLeod (guitar on  04. + 12.)
Jerry O’Sullivan (uilleann pipes on 12.)
Dorothy Papadakos (organ on 12.)
Niamh Parsons (vocals on 10. + 13.)
Jordan Rudess (keyboards on  01.,  04. + 09.)
Davy Spillane (uilleann pipes, low whistle)
Arto Tuncboyaciyan (vocals, percussion, sazabo)
Eliot Wadopian (bass on  04. + 12.)
Paul Winter (saxophone)


01. Caravan At Dawn (Winter/Tuncboyaciyan/Hart/Rudess) 6.25
02. First Oasis (Spillane/Winter/Friesen/Tuncboyaciyan/Halley) 4.14
03. Broken Arm (Tuncboyaciyan) 6.09
04. Mountain Wedding (Winter) 4.44
05. Cave Of The Winds (Winter) 5.49
06. Pas De Deux (Friesen/Spillane) 2.45
07. Singing To The Mountain (Tuncboyaciyan) 4.50
08. Middle Oasis (Winter/Friesen/Spillane/Tuncboyaciyan/Halle) 5.24
09. Yabu (Hart/Winter) 5.02
10. Green Grass, It Grows Bonny (Traditional) 5.03
11. Last Oasis (Spillane/Friesen/Winter/Tuncboyaciyan) 4.04
12. Land Of The Pipers (Traditional) 5.19
13. Oror Bubrik (Tuncboyaciyan) 6:12



Siberian Russian Folk Chorus – Same (1979)

FrontCover1.JPGRussian traditional music specifically deals with the folk music traditions of the ethnic Russian people. It does not include the various forms of art music, which in Russia often contains folk melodies and folk elements or music of other ethnic groups living in Russia.

The performance and promulgation of ethnic music in Russia has a long tradition. Initially it was intertwined with various forms of art music, however, in the late 19th century it began to take on a life of its own with the rise in popularity of folkloric ensembles, such as the folk choir movement led by Mitrofan Pyatnitsky and the Russian folk instrument movement pioneered by Vasily Andreyev.

In Soviet Russia, folk music was categorized as being democratic (of the people) or proletarian (of the working class) as opposed to art music, which was often regarded as being bourgeois. After the revolution, along with proletarian “mass music” (music for the proletarian masses) it received significant support from the state. In Post World War II Russia, proletarian mass music however lost its appeal, whereas folkloric music continued to have a widespread support among the population, inside and outside of the Soviet Union. However the authentic nature of folk music was severely distorted by the drive to ‘professionalise’ performers, regardless of the genre they worked in: thus all folk singers were obliged to both learn Western-style classical notation, and to learn to perform classical repertoire – or else risk losing their right to perform as ‘professionals’.

Siberian Russian Folk Chorus1.jpg

In the 1960s, folk music in Russia continued to receive significant state support and was often seen as the antithesis of Western pop music. The fact that numerous Soviet folkloric ensembles were invited for foreign tours raised the prestige of the folk performer to that of academic musicians, and in some cases even higher because access to the West and Western goods was very desirable.

Ethnic (folk) music in Russia can often be categorized according to the amount of authenticity in the performance: truly authentic folk music (reproductive performances of traditional music), folkloric and “fakeloric” performance.

Russia is a multi-ethnic country with some 300 different ethnic groups, many of them non-Slavic, living within its borders.


Authentic village singing differs from academic singing styles. It is usually done using just the chest register and is often called “white sound” or “white” voice. It is often described as controlled screaming or shouting. Female chest register singers have only a low diapason of one octave to 12 notes.

And here´s a nice album by the Siberian Russian Folk Chorus. This group recorded their first album in 1956 and was active till the end of the Eighties.

This music is for me a real unfamiliar world, but I like to discover music from all over the world …

Maybe you will discover the music of the Siberian Russian Folk Chorus, too

AlternateFRontCoverFrontCoverAlternate front cover

Siberian Russian Folk Chorus conducted by Andrei Novikov
Chorus Rusian Folk Instruments Orchestra conducted by B.Burin


01. Siberia Our Pride (Novikov/Pukhnachev) 1.58
02. Play Perky Concertina (Gurin/Ostrikov) 2.35
03. Song Of Siberia (Ponomarenko/Osmushkin) 4.12
04. Night In The Taiga (Traditional) 3.37
05. The Far Off Star Has Lit (Levashov/Pukhnachev) 4.15
06. Through The Wild Mysterious Taiga (Traditional) 3.47
07. Don’t Soar Over Me, Sea-gulls (Traditional) 3.24
08. Motley Hens (Traditional) 2.01
09. On A Rainy Saturday (Traditional) 3.27
10. Yes, My Little Casket (Traditional) 1.09
11. My Dawn Dear Dawn (Traditional) 1.49
12. Is That My Beauty? (Traditional) 2.49
13. Maidens Have Sown Flax (Traditional) 1.26
14. Negligent Cook (Traditional) 1.33




Ginger Baker’s African Force – Palanquin’s Pole (2006)

FrontCover1.jpgThose thunderous drums we hear in the beginning of this set could only come from one drummer — Ginger Baker — and despite the name of the band, it is Baker who is its backbone. Recorded live in 1987 in Bremen, Germany, Baker, Thomas Akuru Dyani, Kwaku A. Mensa, Ansoumana Bangoura, and Ampofo Acquah used their percussive stature to completely bowl over a throng at the Schaumburg Festival. All five men play percussion or drums, two sing, and one occasionally plays guitar. For over 47 minutes they travel into the hypnotic heart of the drum. The drum exists here not only as a means to make music, but also as a means to impart history, mystery, magic, and communication. Whether the polyrhythms begin as simple 4/4 patterns and wind out immeasurably, snaking their way through subsets of counter balanced time, or set out from the beginning to suspend all notions of time and its place in the space is of no consequence; this quintet plays only to hear, and hears only to speak in that intimate language that utters itself as culture. This is a drum record like none other in existence. It is a mystical record that is rooted in the bone buried in the earth, and Baker’s assemblage understands all too well, that the drum is the heartbeat of the universe. Awesome. (by Thom Jurek)

Recorded live by Radio Bremen/Germany at the Schauburg, May 4, 1987


Alternate frontcovers

Ampofo Acquah (percussion, guitar, vocals)
Ginger Baker (drums)
Ansoumana Bangoura (percussion)
Thomas Akuru Dyani (percussion)
Francis Kwaku A. Mensah (percussion, vocals)


01. Go Do (Mensah) 5.05
02. Brain Damage (Baker) 5.20
03. Ansumania (Bangoura) 4-53
04. The Palanquin’s Pole (Traditional/Acquah) 9.46
05. Abyssinia / 1.2.7. (Acquah) 6.00
06. Ginger’s Solo (Baker) 9.30
07. Want Come? Go! (Dyani) 6.17