Blood Drum Spirit | Time Changes

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Time Changes

by Blood Drum Spirit

sun ra, the legendary african american philosopher, pianist, and leader of his solar arkestra, spoke of the human condition and life’s struggles in terms of an omniverse and our genesis from another dimension. he once told me ‘reality is not just what we see, there is another existence, we are beings from beyond.’ the music of his large arkestra ensemble always stretched
the limits, surpassing the expected toward the ultimate, with such pieces as myth vs science: reality. hearing the arkestra live, i could feel this transcendence, what author amiri baraka spoke of as an african life sense. as my life progressed and my playing has taken me to many parts of the world – africa, asia, the middle east/west asia, europe, and the americas – sun ra’s wisdom has become clearer. in the historic human path thus far, peoples across the planet have been, and continue to be, controlled and deprived by the infinitesimal few, causing hunger, disease, denial of basic needs, lack of shelter and safety
Genre: Jazz: African Jazz
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  Song Share Time Download
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1. Hits
7:15 $0.99
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2. Donno Ntoaso
5:23 $0.99
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3. Freedom Jazz Dance
7:37 $0.99
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4. The Betrayal
4:10 $0.99
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5. Drum Solo for Mr. Adams, Mr. McBrowne, Mr. Roach, Mr. Jarvis, Mr. Blackwell
1:46 $0.99
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6. James and Hazel
13:24 $0.99
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7. Bewaa
7:45 $0.99
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8. Silent Spaces
2:40 $0.99
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9. If Only.........
5:16 $0.99
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10. Fontomfrom Suite
7:40 $0.99
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11. Naima
12:06 $0.99
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12. Circle of Creation / Adzohu Suite
16:36 $0.99
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13. Dancing on the Drums
4:37 $0.99
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14. Longing (A Boy and a Beauty)
10:43 $0.99
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15. Penteng
1:52 $0.99
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16. The Look
5:38 $0.99
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17. Blues for Mister Charlie and Miss Ann
6:00 $0.99
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18. St. Louis Blues
10:47 $0.99
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19. Lift Every Voice and Sing
7:31 $0.99
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20. Syrinx
4:55 $0.99
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21. High Fly
7:31 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
blood drum spirit
time changes

david bindman, tenor and soprano saxophone, flute/wes brown, contrabass/art hirahara, piano/royal hartigan, drum set, donno hourglass drum

disc 1 75:10
1 hits 7:16
2 donno ntoaso 5:23
3 freedom jazz dance 7:38
4 the betrayal 4:11
5 drum solo for mr. adams/mr. mcbrowne/mr. roach/mr. jarvis/mr. blackwell 1:47
6 james and hazel 13:25
7 bewaa 7:45
8 silent spaces 2:40
9 if only……… 5:16
10 fɔntɔmfrɔm suite 7:41
11 naima 12:06
__________________________________________

disc 2 76:17
1 circle of creation/adzohu suite 16:36
2 dancing on the drums 4:38
3 longing (a boy and a beauty) 10:44
4 penteng 1:53
5 the look 5:38
saint louis blues suite 16:48
6 blues for mister charlie and miss ann 6:01
7 st. louis blues 10:47
8 lift every voice and sing 7:31
9 syrinx 4:56
10 high fly 7:31

www.blooddrumspirit.com
__________________________________


cd 1 75:10

1 hits 7:16 © 1986 david bindman

in david’s composition, the saxophone melody and rhythmic ‘hits’ bounce off each other in quick succession, while tight clusters of notes in the piano interact dissonantly with the underlying harmonies. the bass line and recurring rhythm section vamp suggest a dance groove, though with a similar dissonance. the theme and form give the piece an asymmetrical yet organic shape. freewheeling improvisations unfold over a repeating, yet ever-reinterpreted progression, while a hand drum solo closes the piece.

royal’s drum set rhythms in the vamp and bass solo reflect the frikyiwa bell timeline of the sikyi music of the asante people of ghana.

2 donno ntoaso 5:23 © 2015 royal hartigan; rhythmic structure based on the fɔntɔmfrɔm and kɛtɛ music of the asante people of west africa, © the asante people

this piece is based on two traditional asante royal court drumming styles, fɔntɔmfrɔm and kɛtɛ. the fɔntɔmfrɔm ensemble is led by two voices: two huge deep-toned bomaa drums in conversation with the double atumpan drums. the kɛtɛ ensemble is led by the large kwadum deep-toned drum. the lead drums in each ensemble are accompanied by support drums, iron bells, and in kɛtɛ, a gourd rattle, ntrowa. our arrangement highlights these drum conversations as a foundation for improvisations. it begins with the bomaa-atumpan dialogues in the fɔntɔmfrɔm atopiretia section adapted between bass drum and the donno double-headed, string-tension, hourglass-shaped drum, with high hat adding another layer of time. atopiretia music relates to war and funerals and is often danced by chiefs. our performance gradually moves to kɛtɛ kwadum patterns for akɔkɔnɔ beteɛ reflected on donno, accompanied by a bass drum heartbeat and the ntrowa gourd rattle voice on high hat. akɔkɔnɔ beteɛ expresses the inner meaning that people who appear weak can have unseen strengths.

a final piano-drum duo centers on the donno expression of an asante invocation traditionally played on the atumpan master drums. it begins with yɛɛ sua mɔma yɛ hunu, ‘we are learning, let us know and play well,’ played 3 times and followed by tweneboa kodua, (name of a person); ɔ brempong, ‘distinguished person’; da mirifa due, (i am) ‘sorry for your troubles’; da mirifa due, da mirifa due due, due due ni, ne amania hunu, ‘…. suffering’; ɔ brempong, ‘distinguished person’; ye mawo akwaaba, ‘welcome.’ a dawuro, kofi, ‘dawuro (player), kofi (friday-born man’s day name)’; mawo homereso, ‘get ready’; kumu brebre, ‘play with your innermost being.’

its inner meaning is ‘we are sad to endure life’s troubles, hardships, and pain, going through life until death.’ and extended, playing through life with your/our deepest being.

wes, art, and david have performed ghanaian music over decades, and hear its deep structures, connecting these voices to an african american blues and gospel feel.

3 freedom jazz dance 7:38 © 1965 eddie harris; arrangement © 1972 royal hartigan

this arrangement casts eddie harris’ classic composition in a 13-beat funk groove that alternates with a fast double-time 13-pulse swing felt in 6 ½ beats.
the theme is stated freely over the funk groove and expresses the openness that true freedom brings. a final exclamation reflects this vision.

in the current cancerous era of profits and property over people’s well-being, rampant racism triggered by true illegal aliens (in the u. s. and western hemisphere since 1492 and ongoing), and blind obedience to the radical individual self against the survival of the human community and the environment, this arrangement voices the outrage against the insanity consuming plantation earth.

4 the betrayal 4:11 © 2015 blood drum spirit

a free improvisation around the theme of betrayal - of humanity, dreams, hopes, love, and self.

5 drum solo for clifford adams/lenny mcbrowne/max roach/clifford jarvis/edward blackwell 1:47 © 1994 royal hartigan

i dedicate this solo to my drum set inspirations, clifford adams, lenny mcbrowne, max roach, clifford jarvis, and edward blackwell. their spirits live, and swing forever.

6 james and hazel 13:25 © 1972, 1987 royal hartigan


a composition written for my parents, hazel clark gay-hartigan and james edward hartigan, and my uncle ray. hart, all of whom grew up in large families in difficult times with little material resources. their extended families drew close and survived and thrived. from my earliest years, i experienced their joy at the smallest thing or moment reflecting the infinite, and open hearts to all people, especially those in need. the time cycle is a heartbeat from waking dreams.

in making and playing this piece with my musical family - wes, art, and david - i realized james and hazel is for all of our ancestors and people we have loved and lost. a remembrance of hearts joined forever, even in absence……………. where someday, yet again, we will be whole……….. as we awaken together in the evening’s midnight sun…………..

7 bewaa 7:45 © 2015 royal hartigan; rhythmic structure based on the bewaa dance drumming of the dagara people of west africa, © the dagara people

bewaa is a traditional harvest music of the dagara people of west africa and features the gyile wooden xylophone with accompanying drums. sequences of drum patterns reflect dance movements, and in our arrangement drum set plays these traditional drum open and mute tones between floor and mounted toms over a bass drum-high-hat heartbeat and swing feel on cymbal. wes, art, and david interact with the bewaa drum set rhythms throughout.


8 silent spaces 2:40 © 2015 blood drum spirit

we reflect on the realities behind appearance, those unaccommodated, the (im)possible.

9 if only……….. 5:16 © 2015 blood drum spirit

an open conversation on the unanswered question.

10 fɔntɔmfrɔm suite 7:41 © 2014 royal hartigan; rhythmic structure based on the fɔntɔmfrɔm court music of the asante people of ghana, west africa, © the asante people

this suite for drum set includes rhythms inspired by the fɔntɔmfrɔm styles known as atopiretia, naawia, and akantam. the ^^^ITALICIZE THE WORD [dawuro] bell timelines are taken by cymbal, high hat plays a contrasting layer of time, and the conversation between the huge deep-toned bomaa drums and the atumpan drums are outlined on bass drum and toms, respectively. following the first three sections, akantam is repeated with the drum patterns reflecting the proverb asuo twa ɔkwan, ’(the) river along (crosses the) path’; ɔkwan twa asuo ‘(the) path along (crosses the) river,’ ɔpanini nehwan, ‘which is (the) elder?’; yɛ bo kwan no koto asuo no, ‘they made (the) path to the river’; asuo no firi tete, ‘(the) river exists since long ago’; asuo no firi tete (a) doman (koma), ‘(the) river exists since the creator (made it).’

11 naima 12:06 © 1959 john coltrane; arrangement © 2010 royal hartigan

our arrangement of john coltrane’s classic ballad opens with the naima harmonies played without time by the rhythm section, followed by the saxophone theme. the solos, first bass, then piano, are set in a west african twelve-eight time cycle related to the kɛtɛ music of the asante people. wes’ bass solo begins alone, joined by drum set with the donno hourglass drum and later piano. art’s piano solo continues in this groove. royal’s drum conversations with wes and art are grounded in a bass drum-high hat rhythmic framework from asante kɛtɛ. saxophone begins alone without time and is joined by bass, piano, and finally, drums.

mr. coltrane’s composition was written for his wife, juanita naima grubbs, and our arrangement honors the women of the world, in the face of constant siege. in the late fred ho’s words, ‘women do 70% of the world’s work, comprise more half the world’s population, bear 100% of the world’s children, and control less than 10% of the world’s resources.’

__________________________________________

disc 2 76:17

1 circle of creation/adzohu suite 16:36 © 2013 david bindman; traditional rhythms, spoken language, and ʋugbe (drum language) © the fɔn and eʋe peoples of west africa

adzohu is a dance drumming played during devotional activities for adzogbo, a war divinity of the fɔn and eʋe peoples of west africa. religious worship includes invocation, a yearning for spiritual communion, and transcendence, among the many activities and drumming styles in adzohu ritual. this suite is based on three of these sections. some of its themes relate to water and land beings.

david composed the piece for blood drum spirit as part of our ongoing project of integrating west african rhythms and songs - their distinct complex rhythmic architecture, vibrancy, motion, and feeling - into original jazz compositions and improvisations. the themes and harmonies in the composition draw on the rhythmic layers, pulses, and tones of adzohu, with time and rhythmic emphasis heard in multiple ways.

the sections of the traditional piece offer both predetermined frameworks and liberating spaces for improvisation. david’s composition has two song forms that correspond to the medium-tempo kaɖoɖo and faster ago sections of adzohu. the suite’s opening is related to the rhythms from kaɖoɖo (‘forming a circle’) whose bell pattern is extended over 8 dotted-quarter beats in a twenty-four-eight feel. the drum set, with the gaŋkogui bell timeline on cymbal and kagaŋ drum voice on high hat, a bass drum pulse, and snare-tom melody, outlines the saxophone theme and piano chords, while the bass line falls within the bell strokes.

an interlude related to atsia (‘style’) drumming leads to faster-paced rhythms from the ago (a term for ‘yearning’ or ‘summoning’) section, whose bell is also in an extended 8-beat time feel. saxophone, bass, and piano solos are played over specific adzohu rhythmic forms: saxophone is based on kaɖoɖo, bass on kaɖoɖo, **ITALICIZE ATSIA atsia, and **ITALICIZE AGO ago, and piano on **ITALICIZE AGO ago. the saxophone and piano solos follow the **CHANGE TO [MEDIUM] and fast [TEMPO] song-chord forms, respectively, until a return to the closing themes.

the bass solo is a dialogue, with wes responding to traditional kaɖoɖo, atsia, and ago atsimeʋu lead drum ʋugbe (‘drum language’) played on floor tom with a hand and stick technique. my verbalizations mirror atsimeʋu master drum stroke sounds, with some also reflecting the eʋe language. in the opening kaɖoɖo feel, adzohua gbɔna, yooooo! represents ‘the drums are coming, yooooo!’ (a battle cry). in ago three sayings are expressed. tsia do woe, atsia do woe, alifome, ‘how you live is a reflection of your upbringing/inner being’ and is followed by ga ʋa dzogbedzi ko ne mi la kpe,‘come to the battlefield and we will clash!’ the final statement has the repeated phrases mi ʋa du gba dzi, ‘everyone come to the drumming area’; eduwo keŋ mi ʋa ne mia kpɔwo, dugbadzi ‘everyone (the entire village) comes to see them’ (warriors, dancers, and musicians), gbedzi, gbedzi, gbedzi….. ‘our lives are their mission.’

the suite offers four players in conversation, relating to the call and response of the traditional music and dance. the dance itself is so intense that the thematic material seems to have emerged directly from it, as we experienced when we played adzohu with the dagbe cultural centre drummers, dancers, and singers led by emmanuel kwaku agbeli.

our playing is dedicated to the late godwin kwasi agbeli and yaotse agbeli, godwin’s son emmanuel, the dagbe cultural centre musicians and dancers, and the people at kopeyia-aflao village, volta region, ghana.

2 dancing on the drums 4:38 © 2014 royal hartigan

a solo with brushes in a bebop groove, ending with a rhythmic reference to the theme of sonny rollins’ classic composition oleo. it is a vision of my uncle ray hart, mother hazel gay-hartigan, and me, tap dancing on stages with exploding lights and shadows, for people whose space seemed to stretch out beyond the stage, curtains, and theater to the whole world.

3 longing (a boy and a beauty) 10:44 © 1988 kiyoto fujiwara/vino rosso productions

what greater thing is there for two human souls than to feel that they are joined for life – to strengthen each other in all labor, to rest on each other in all sorrow, to minister to each other in all pain, to be one with each other in silent unspeakable memories at the moment of the last parting george eliot


the clouds in a mist high up

beyond where the spirit lives

as if the gods could dream

dream bars dancing under an azure blue sky
exploding sunlit fall leaves

pleasant valley sanctuary rocks are still there

mount greylock

204 springside snows contemplating corduroy

the two

i love you dearly she said if only

4 penteng 1:53 © 2014 royal hartigan; rhythmic structure based on the abodwese music of the asante people of penteng village, asante region, ghana, west africa, © the asante people and the people of penteng; used by permission of chief priest nana obeng gyasi

an improvisation with hands on snare (snares released) and toms over a bass drum-high hat pulse. the sounds are inspired by playing with the abodwese shrine community and blood drum spirit’s performance in penteng with the ensemble of drummers, dancers, and singers.

my playing is dedicated to the late freeman kwadzo donkor of tsiame village, volta region, ghana; a master drummer, dancer, teacher, mentor, and godfather to many students; lifting his art and life, and us all, to a higher place.

5 the look 5:38 © 2015 blood drum spirit

seen in the eyes of those enduring, knowing not, but sensing all…….sun ra’s kingdom of not, upside down, nothing is…………..’it’s after the end of the world, don’t ‘ya know that yet?’

………...looking out to the seas and skies, tombero leeching, the mask with no face…………

……..capital comfort farm, milk-fed oatmeal man…………….

…………….blubber automatons with stenching screens pimping the lie…………

……………..the abyss of armageddon awaits…………


saint louis blues suite 16:48 © 1914 w. c. handy; arrangement © 2014 royal hartigan

an arrangement of w. c. handy’s classic blues song to express the horror of torture and murder of african americans, especially black men, by military, police, and vigilantes.

6 blues for mister charlie and miss ann 6:01

this drum set solo introduction, blues for mister charlie and miss ann, is inspired by the title of james baldwin’s landmark play. i speak the tonal names on drums of a few individuals in the 20th and 21st centuries among the millions of african americans who have been victimized over the centuries: emmett till (money, mississippi, 1955, 2 snare stick shots and 1 mounted tom stroke); rodney king (1991, los angeles, california, 2 floor tom sounds and 1 mounted tom tone); amadou diallo (new york, 1999, floor-mounted-floor toms**1 HYPHEN-bass drum-toms flam-bass drum); trayvon martin (sanford, florida, 2012, 2 high toms-floor tom, bass drum); sandra bland (waller county, texas, 2015), michael brown (ferguson/st. louis, missouri, 2014, both with 2 bass drum strokes and 1 tom flam); as well as the four-stroke ‘black lives matter’ (high**1 HYPHEN-high-mid-low toms, 2 high toms-floor tom, bass drum). short fragments implying a twenty-one eight groove felt as three seven-pulse heartbeats connect some of the name phrases. this leads to a dense rolling section representing the horrors of violence, ^^^CHANGE ‘IN HOMAGE TO’ TO ‘LIKE’ like max roach’s duet with vocalist abbey lincoln in the **ITALICIZE [PROTEST] protest section of his composition triptych: prayer, protest, peace, part of his 1960 we insist! freedom now! suite. 59 years later and counting, this response still rings true.

7 st. louis blues 10:47

my arrangement of mr. handy’s composition begins with a snare military-style statement of the twenty-one eight-time cycle joined by bass and piano in a four-cycle vamp, followed by a soprano saxophone statement of the first **ITALICIZE [saint louis blues] theme. this leads to the second theme played twice over a 7 dotted-quarter beat feel whose time span equals the twenty-one eight pattern. i interpret this section as a new orleans second line groove with toms and snare. the third theme is set in 24 bars of fast seven-eight time and moves to the bass solo on the first theme over its original groove. art and i play stop time during wes’ solo as another connection to the new orleans style. art’s solo begins alone in a ragtime style in 7 beats, and we join him in a 7-beat swing feel grooving out to the edge. david’s saxophone solo drives us over the fast seven-eight feel that becomes a swing in fast 7. we then restate the 3 themes followed by a coda from the last four cycles of the third theme. saxophone, piano, and bass exit, leaving drums to dissolve the third theme groove, with ending snare drips symbolizing the blood of those lost but not forgotten.

8 lift every voice and sing 7:31 words © 1899 james weldon johnson; music © 1905 john rosamond johnson; arrangement **OMIT THIS COMMA[,] © 2015 blood drum spirit

lift every voice and sing was first publicly performed as a poem as part of a celebration of abraham lincoln's birthday on february 12, 1900, by 500 school children at the segregated stanton school in jacksonville, florida. its principal, james weldon johnson (1871-1938), wrote the words to introduce its honored guest, booker t. washington. the poem was set to music soon after by johnson's brother john (1873-1954) in 1905. in 1919 the national association for the advancement of colored people (naacp) named it ‘the negro national anthem’ for its power in voicing the cry for liberation and affirmation for african-americans. the late dr. horace clarence boyer, my friend, master artist, and a world authority on african american spiritual music, showed me the meaning of this composition through his life and music. its words speak of the long history of trials and suffering of african peoples and the power to overcome and transcend. in our rendition, we honor the african american heritage of perseverance and triumph, past, present, and future.

our arrangement is dedicated to william edward burghardt du bois, pan-african visionary and inspiration to all freedom-seeking people. he was born in great barrington, massachusetts, on 23 february 1868, and died in accra, ghana, west africa, on 27 august 1963, the day before the landmark march on washington in the u. s. led by the rev. dr. martin luther king, jr.

blood drum spirit’s first video recording in ghana for our we are one film included music based on randy weston’s high fly with kpanlogo drumming (see below). it took place at the w. e. b. du bois memorial centre for pan-african culture and gravesite in cantonments, accra, his home between 1961 and his death.

lift every voice and sing
till earth and heaven ring,
ring with the harmonies of liberty;
let our rejoicing rise,
high as the list'ning skies,
let it resound loud as the rolling sea.
sing a song full of the faith that the dark past has taught us,
sing a song full of the hope that the present has brought us,
facing the rising sun of our new day begun,
let us march on till victory is won.

stony the road we trod,
bitter the chastening rod,
felt in the days when hope unborn had died;
yet with a steady beat,
have not our weary feet
come to the place for which our fathers sighed
we have come over a way that with tears has been watered,
we have come treading our path through the blood of the slaughtered,
out from the gloomy past, till now we stand at last
where the white gleam of our bright star is cast.

god of our weary years,
god of our silent tears,
thou who hast brought us thus far on the way;
thou who has by thy might
led us into the light,
keep us forever in the path, we pray.
lest, our feet stray from the places, our god, where we met thee,
lest, our hearts, drunk with the wine of the world, we forget thee,
shadowed beneath thy hand, may we forever stand,
true to our god, true to our native land.

our arrangement begins with the middle section of the song in a twelve-eight time feel based on the gaŋkogui bell timeline from the agbadza social dance drumming of the eʋe people of ghana and togo, west africa. it moves to a rubato (without time) piano interlude followed by a bowed contrabass statement of the entire song. a piano-saxophone interlude leads to the saxophone solo, first rubato, then in the agbadza time feel over a repeating harmonic pattern. the piece concludes with a return to the second theme and rubato ending theme.

this people, this tradition, this music, that has helped me believe in myself. that has given me a home i will love forever.


9 syrinx 4:56 © 1913 claude debussy; arrangement © royal hartigan

syrinx was originally written as incidental music to the uncompleted play psyché by gabriel mourey, and was originally calledla flûte de pan. since one of debussy's chansons de bilitis had already been given that title, it was given its final name in reference to the myth of the amorous pursuit of the nymph syrinx by the god pan, in which pan falls in love with syrinx. however, as syrinx does not return the love to pan, she turns herself into a water reed and hides in the marshes. pan cuts the reeds to make his pipes, in turn killing his love.

our concept for claude debussy’s composition for solo flute is to create an ensemble improvisation based on syrinx’s haunting sounds. we play it rubato throughout but with changing rhythmic feels and densities, leaving spaces in the original for improvisation and breathing.

i thought of this piece when we visited the cape coast, ghana, fortress/dungeons that were holding points for captive africans prior to their journey to the new world. the incredible horror of these prisons, dark, cold, with the voices of those held there still felt and heard, are expressed in our arrangement. our version of syrinx relates to the prisons all people face in life: physical, emotional, psychological, spiritual……….

10 high fly 7:31 © 1958 randy weston, arrangement © 2013 royal hartigan

this piece adapts the late pianist, composer, and ensemble leader randy weston’s classic composition to rhythms from the kpanlogo traditional dance drumming of the ga people of ghana. throughout his life mr. weston has made visible the connections among the many musics of the african diaspora, especially jazz and its african ancestors. our music and film we are one continue that vision. in this arrangement, the kpanlogo ngongo bell voice on cymbal and balogo hand drum patterns are the basis for some drum set grooves.

i met mr. weston during his summers in the 1960s at avaloch inn in lenox, massachusetts, when his ensemble performed there and i played piano in another part of the complex. randy’s group consisted of bassist vishnu wood, drummer lenny mcbrowne, trumpeter ray copeland, baritone saxophonist cecil payne, tenor saxophonist booker ervin, and percussionist big black (daniel ray), who would make life and time stop with his transcendent drumming, solos lasting 20 minutes or more as everyone was brought to another realm. mr. weston, nana, medaase paaa! (‘honored elder, thank you!’)
________________________________________________

moon and star; extended: while the moon and sun (man) pass away, the star (woman) will always be in the sky

dedication in memoriam

to mary ann knight for your inspiration, support, and undying love: you live forever, your heart renews, spirit beyond the sky……………

_________________________________________________

this music is our life, a spirit and
philosophy: the turn of time, the break bds shinto tomoye/snake symbol
of the world, a change of consciousness
at every level and aspect of existence,
revolution/resolution in the universe

david bindman, tenor and soprano saxophone, flute
wes brown, contrabass
art hirahara, piano
royal hartigan, drum set, donno hourglass drum

special thanks to daniel fennell, statesman, musician, humanitarian, and friend, for helping us realize our vision

blood drum spirit with musician, composer, scholar, teacher, visionary, and inspiration, prof. j. h. kwabena nketia, at the institute for african studies, university of ghana, legon]

cover photo by sara pettinella
art, wes, royal, and david looking out into the gulf of benin/atlantic ocean from the rocks bordering the colonial fortress/dungeon at cape coast, ghana…...seeing the tombs and slave prisons there and looking out at the place of final separation from loved ones and the homeland…….

publishing credits
david bindman - david bindman publishing/bmi
art hirahara - araharih music/ascap
royal hartigan – royal hartigan music/bmi

recording credits
audio artistry by jon rosenberg: recording on 28-30 december 2015 and 25 january 2016 at systems two studios, brooklyn, new york; mixing march-june, september, and december 2016 and january 2017; and mastering january 2017; thanks to nancy marciano, michael santoli, and max ross at systems two

photo credits
martin adi-dako, simon asamoah, benjamin cohn, sara pettinella, art hirahara, george gibson, and ariane smolderen; photo capture by diane azevedo; w. e. b. du bois photo used with permission of his grandson, mr. arthur mcfarlane; photo of randy weston used with permission of mrs. fatoumata weston

cd and booklet design little comb productions [icon of comb]

thanks to weihua zhang for audio and literary advice

look for our film: we are one blood drum spirit
www.weareonethemovie.com / instagram.com/weareonethemovie/

find us on
twitter: blooddrumspirit

facebook: blooddrumspirit
vimeo and youtube

contact information
royaljhartigan@gmail.com
www.royalhart.com
www.blooddrumspirit.com

© 2019 royal hartigan all rights reserved unauthorized duplication is a
violation of applicable laws

royal hartigan plays sonor drums, remo heads, vic firth sticks, brushes, and mallets, and istanbul/agop, k zildjian, and paiste cymbals

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