Words by Justin Turford
Our friend and São Paulo-based DJ, producer and compiler, Tahira, has done it again. His single-minded mission to discover, research and share his knowledge about the lesser known (outside of Brazil anyway) musical wonders of his country Brazil, have already given us two essential compilations ‘Levanta Poeira’ on Jazz & Milk and the recent collab with Música Macondo - ‘Brasil Novo’ - as well as a bunch of his own transformational reworks and remixes that explore Afro-Brazilian rhythms from the northern and eastern regions of this immense and diverse land.
In partnership with São Paulo based record store, and label, Memória Discos, his new label, Poeira Music, begin their journey with a contemporary jazz release that is both recognisably jazz yet something much more. The term ‘spiritual jazz’ gets bandied around freely these days, a bit of harp, flute, and a deep modal groove are enough to gain the uneasily fitting title but this album by Brazilian saxophonist Glaucus Linx and French percussionist Antoine Olivier has a more authentic claim to the term ‘spiritual’. ‘Kan’ is a record with spirituality and deep ritual embedded in its core.
The Candomblé religion, with its composite of various African and Roman Catholic ritualistic practices is a uniquely Brazilian construct with no ‘head’ of the church per se, in its stead are autonomous groups who practice their faith in their own way. Candomblé involves the worshipping of spirits known as Orixás. Each person is believed to have a guiding Orixá who has been connected to them since before birth and who infuses their character. Glaucus was raised in this world, and interestingly, the Frenchman Antoine himself studied intensively and became an Ogun Alabê, a sacred drummer in Candomblé religious practices.
Working together since 2012, the duo have explored, through their stripped down yet rich sound, how to harness the stories of the Orixás through the expressive lyricism of Glaucus’ saxophone allied with the ritualistic Candomblé rhythms played masterfully by Antoine. They do it so well, it is impossible to hear that they are creating something new from the old. The only non-original track on the album is a spellbinding version of the Baden Powell classic ‘Canto de Xangô’, a song I have heard many versions of but here it is completely freshened up with a new rhythmic twist that seems to bring out its original inspiration even further'.
“He was raised around the Candomblé and his Afro-sambas are deeply influenced by the sacred music. We used the traditional rhythm called Alujá which is specially dedicated to Xangô. It worked instantly, proving that Baden Powell probably had that in mind all the time. Kaô kabecilê!” - Antoine Olivier
Alabê KetuJazz
Make no mistake, this isn’t vintage music made for a contemporary audience, Alabê KetuJazz sound as vital as anything coming out of London, Chicago or Los Angeles right now. ‘Opanijé Xarará’ tears it up like Shabaka Hutchings and the afoxé swing of ‘Ijexá Gnawa’ is just glorious. Antoine’s multi-layered percussion grooves with gentle power while Glaucus’ sax playing is incredibly beautiful, bursting with pitch perfect phrasing and sensitivity. The twelve minutes plus of album closer ‘Igbi Adija’ is my personal standout if I had to choose one. Not unlike some of Pharaoh Sanders’ many collaborations with other cultural masters, a transcendent tale is being spun. The melodic power of Glaucus’ storytelling as he weaves and wanders around the hypnotic trance of the percussion is quite something. A story told in fluid movements, it is dramatic without the need for shocks or wild energy. This is ritual and ritual has rules, the only rule Alabê KetuJazz have amended is the introduction of the saxophone and the duos jazz sensibility, and it sounds like it has always been here. 10/10
Out now on Poeira Music / Memória Discos