Records AMG Forgot - The Gambian/Norwegian Friendship Orchestra

The Gambian/Norwegian Friendship Orchestra – S/T – Odin Records – LP 06 – 1983

I love when fusions of jazz and world music work. There is a multitude of varied mash ups with varying effectiveness. The most successful seem to be those of cultures that rely heavily on improvisation and/or rhythmic devices, Indian and African music being the most prevalent. Personally, I find that I gravitate toward the music of the South African expats (most notably Abdullah Ibrahim, Chris McGregor, Johnny Dyani, and co.). The blend of kwela and jazz has a particularly celebratory and lively feel, which is easy to love.

That being said, I’m always open to other attempts to see if they are up to snuff. Seems that the Europeans have always been more willing to bridge the divide between cultures, especially Scandinavians. While in Norway last month, I came across this record at a cool record shop in Bergen called Samleren (wrote about it here). I’ll admit that I was a little hesitant as the early 80s were awkward years for jazz and world music. Overall, I think that this mixture of Gambian folk/drum music and European jazz works pretty well.

Background:

Norway has been a jazz loving nation ever since the music hit the European shores. Norwegian jazz musicians realized the importance of unity within their ranks early on, developing the Norsk Jazzforbund (Norwegian Jazz Foundation) in 1953 as a means to promote Norwegian jazz and creative music artists in Norway and beyond its borders. In 1980, the Jazzforbund began to receive national funding that allowed them to create a Norwegian Jazz Archive and Odin Records in 1981.

Odin was created to feature and publish the work of Norwegian jazz musicians. It was the first such label in Norway and released some great, eclectic recordings during its 13-year existence. Early releases included musicians that have since become well known through associations with creative music giant ECM, including Jon Balke, Nils Petter Molvaer and Arild Andersen. (Most of the releases can be found on CD or for digital download at www.curlinglegs.no.)

The Gambian/Norwegian Friendship Orchestra was created in 1982 under the guidance of Bergen based pianist/bandleader Knut Kristiansen and Gambian vocalist/percussionist Zahir Helge Linaae. Kristiansen had been deeply involved in the Bergen jazz scene for some time. He led a number of ensembles including the Bergen Big Band. In 1981, the Wollof Music Ensemble performed at the Voss Jazz Festival where Kristiansen met Linaae, a leading member of the ensemble.

A beardy Kristiansen on timbales and Linaae getting down in front

In 1982, Kristiansen and Linaae embarked on a study trip to Gambia. There, the two traveled the country and recorded music that would be transcribed for the ensemble. In addition, some music was transcribed from other sources, including recordings made by British ethnographers in the 1940s and 1950s of Ghanaian Ewe music. The resulting collaboration used elements of the Wolof (the largest ethnic group of Senegal) and Mandinka (the largest ethnic group in Western Africa) folkloric music.

The G/NFO was organized at the suggestion of the president of the Norsk Jazzforbund, Rolf Grundesen, who then scheduled the group to perform at the 1982 Bergen Jazz Festival. With the help of the Norwegian Cultural Council, The Fund for Performing Artists and the Association of Norwegian Song and Music Organizations, the G/NFO was able to meet at Bergen’s Grieghallen on October 2, 1982 on the 10th anniversary of the Bergen Jazz Forum (the city’s largest jazz club/presenter).

The group was built around a Gambian percussion/lute ensemble that featured Ebou Secka (voice, halam, tamma), Kabirr M’Bye (sabar), Zahir M’Bye (sabar), Segou Camara (djembi), Demba Jobarteh (kora, bass drum), Miki N’Doye (djembi, sabar, congas) and Linaae (calebass, djembi, sabar). Norwegians filled in the remainder of the rhythm section and wind section. The musicians were Erik Balke (soprano, alto sax, flute), Olav Dale (soprano, tenor sax, flute), Vidar Johansen (soprano, tenor, baritone sax), Stein Holdhus (trumpet), Per Jørgensen (trumpet, cornet), Harald Halvorsen (trombone), Ole Thomsen (guitar), Sveinung Hovensjø (electric bass) and Kristiansen (conductor, piano, Prophet 5 synth, timbales).

The music:

“Prayers (Songs of Daru Rilwan)” is based on Kristiansen’s account of and subsequent recording of a Muslim New Year celebration at a Mosque in Daru Rilwan, Gambia. The music echoes the chants and singing of the ceremony. There is a definite Middle Eastern feeling as the piece remains in a minor key and the ensemble remains staid and reverential throughout the theistic sounding piece. Soprano sax emulates the musette tone and the collective horns repeat a minor motif. The piece is mostly written with only a bit of improvised trombone near the end from Harald Halvorsen. The horns build toward a rhythm section climax.

Transcriptions of music from the Ghanaian Ewe tribe are the basis for “Adzida Dance.” The original recordings are from the British musicologist Arthur Morris Jones ‘s collection. The somber tenor sax of Olav Dale briefly states the theme before horns and percussion set a dancing pace. The horns play the melody in unison with exclamations similar to that of the “hot jazz” orchestras of the 20s and 30s. This is a tenor feature with some very expressive playing from Dale as the percussion ensemble exerts energy. There is a “jazzy” interlude as the percussionists shift into a more swing rhythm along with a more traditional harmony as Dale keeps veering more out. Then back into the thick of percussion. The tamma (talking drum) holds the focus as master percussionist Ebou Secka takes off over a percussion vamp. This is a varied yet impressive and energetic performance.



“Drum Ensemble” features only the percussion ensemble. The drum choir displays a mastery of multi-rhythmic interaction in two different African drum traditions, Wolof and Mandinka. Mandinka djembe (a midsized, wooden drum played by hand and made from the Lenge tree) drumming is featured first, performed by master drummer Segou Camara with accompaniment by Miki N’Doye, Linaae and Demba Jobarteh. This intensely driving section has a strong established pattern with the interwoven djembe interjections thrown in by Camara. The Wolof section seems a bit less structured, or more obliquely structured, as the drums seem to all play differing parts. This section also features twins Kabirr and Zahir M’Bye playing in tandem. Pretty amazing display by all.



Vocals are present in the danceable “Serre Takka Ma/Mambo Ibo.” The title is said to mean “darling, marry me” and the song has a very rustic quality. Ebou Secka’s halam (small, 5-string lute) and vocals are front and center. The percussion builds up intensity until horns and piano come in with a salsa flavor. The Wolof drumming lends itself well to the sounds of Afro-Cuban inspired jazz, the reason the band switches gears. Stein Holdhus takes a nice trumpet solo, which is followed by a piano solo by Kristiansen. This is a crowd pleaser for sure, but maybe not an authentic or successful blend between the two cultures.



“Haleli Etoile” is named after the Senegalese band Etoile de Dakar that was formed by Youssou N’Dour in 1979, and was extremely popular in the region, including Gambia. The group blends native percussion and performance practice with those of modern pop (no drum kit, only native percussion). The Etoile de Dakar’s popularity meant that Kristiansen heard the music frequently while in Gambia. He arranges this piece for the ensemble keeping the ostinato rhythm patterns, making the dance tune infectious. The melody is catchy like the best pop tunes. Per Jørgensen’s great, improvised cornet intro leads into the ensemble melody with Erik Balke’s alto acting as the lead vocalist with a choir of other horns. Balke sounds reminiscent of David Sanborn on this one. Not a bad thing. Vidar Johansen has the final solo on tenor. This is probably the strongest ensemble performance on the record.

Jali Demba Jobarteh’s kora is featured at the beginning of “Massani Sise,” a Mandinka folk song. The lovely lute playing is accompanied by the percussion ensemble, a very authentic performance of this piece. Demba’s vocals are resonant against the sparse accompaniment. The percussion starts to pick up as the guitar and bass come in. The horns begin a repeating motif that emulates the arpeggiated kora lines. There is a little of that slick 80s electric bass and guitar sound (I’m hearing the echoes of Sharrock’s Enemy Records stuff, dunno), though the solos aren’t bad at all. Vidar Johansen takes a soprano sax solo as the ensemble picks up intensity toward heroic climax.



The Wolof title of “Jelli Kai Nu Wagtan” expresses a sentiment that music no longer finds itself bound by isolation and tradition, instead it continues to mix with other traditions to make new music. This piece is in three parts and blends two separate musical traditions: the African and European. The introduction uses a medieval musical cadence, the Landini cadence (basically a Major 6th cadence used in medieval choir music). It is easy to hear. Seems as though lots of European musicians use these medieval musical devices (e.g. Surman, Garbarek, etc.). Soprano and tenor sax add a little color to a pretty tight harmonic sequence, which is pretty but not very inspired. Musical sign of the times? The second section is based on the Wolof music tradition and comes in immediately after the horns stop. The percussion and vocals are seemingly loose but become more and more focused. Much more enthusiastic. The drums then slow as the horns return for the concluding section, a playing of “Ormen Lange,” a Norwegian folk tune with close harmony and a catchy melody. Kind of a grab bag of ideas but not bad.

Conclusion:

G/NFO played this and a number of other gigs in Norway, including a nationally televised broadcast. Odin Records released the self-titled recording in 1983, which even had limited distribution in the States (though I’ve never seen a copy here). I couldn’t find any evidence that the group lasted any longer than that year.

Kristiansen was awarded the Norsk Jazzforbund’s Buddy Award in 1983 for his efforts in jazz and world music. He has maintained a steady career in Norway, but by no means prolific. His few recordings have been mostly tributes to Thelonious Monk.

Percussionist Miki N’Doye released a record similar to that of the G/NFO called Joko (ACT, 2002). He has also been a part of pianist Jon Balke’s Batagraf ensemble that has used elements of Western African music and has a couple of records out on ECM.

Excavation - Norway

Two weeks back, I went on a trip to Norway with my father. We were visiting the land of our forefathers and celebrating our birthdays, 30 and 60 respectively. Yeah, yeah… I copped the idea from a Visa commercial from a few years back. Don’t worry, though. We were able to maintain our Norwegian heritage unlike the unfortunate Swedes of commercial fame, though a hotel clerk mentioned that our last name was “almost” Norwegian (we’re missing a K before the J, evidently).

Anyhow… A trip wouldn’t be complete without at least an attempt at record perusal. I was able to track down the last record shop in Bergen and a mighty Oslo record haven.

Bergen

The pearl of Norway. What a beautiful city. We hiked up mountains, ate reindeer sausage and scoffed at the prices of miniature troll statues. We came across a random junk shop that had some records but the good stuff was “not priced yet.” We also came across a CD/DVD/video game chain that had a fairly wide selection but outrageous prices.

Norway was an expensive place. After discovering that prices of CDs are on average around NOK 189 or roughly $36 (CDs are a petroleum product, after all), I didn’t think that I’d find collectable vinyl at decent prices. I was pleasantly surprised, however. I had to ask around if there was a record store and a used bookseller hipped us to Samleren.

Samleren – Nygårdsgaten 33 – 55962540
www.samleren.no

Samleren translated to English would be “collector.” The shop was a small one filled with used records, CDs and DVDs. The collection was separated into three rooms. The first was dedicated to vinyl, a large collection of rock with some jazz, world and hip-hop. The second room held their used CD offerings along with metal and Scandinavian vinyl sections. The last room held the Norwegian vinyl selection and DVDs.

Samleren was a fun store to shop. The vinyl exclusive room had many releases you’d expect to find in a well curated rock shop. The exceptional selections were to be had in the specialized rooms. The Scandinavian sections were fun to rifle through. They were separated into Swedish, Danish and Finnish. I didn’t have a clue who any of the artists/bands were, aside from Abba. It would have been fun to go through with a fine-tooth comb and listen to a bunch to see what was interesting. There was no listening station but the extremely friendly proprietor was happy to let me listen to some selections.

The Norwegian selection was huge, especially in the folk. I steered toward the Norwegian jazz/jazz-rock section since I was more familiar. I was able to find a handful of nice things on the ODIN label that I hadn’t seen before.

Our helpful host (I forgot to get his name) was full of random info. I asked him for recommendations in Norwegian rock and new wave to which he responded that Norwegian music was sub par compared to Danish and Swedish, except for the folk music (Norwegian folk was far superior). The production value was apparently higher in Sweden and Denmark. He wasn’t able to help with jazz recommendations but asked a local shopper to point the way. Jan Garbarek, naturally.

We were also privy to a history lesson. Believe it or not, Leiv Eiriksson (famed Viking explorer, son of Bergen native Erik the Red and first European discoverer of North America) brought whale trapping techniques to the Native Americans thus helping them survive.

Apparently, the lesson was an important one as Mr. Samleren relayed that two Norwegian tourists were thanked by a New York based tribal leader on a visit to a reservation. Hmmm…

Needless to say, this shop was a lot of fun to hang in. There was a ton of unfamiliar music and the prices were fairly good. My selections ranged in price from NOK 20 to NOK 130 ($4 to $24). Much better than any CD prices found.

The Haul:

1. Herbert Joos - Daybreak - JAPO - 60015 - LP - 1977 (Cool orchestral jazz)
2. The Gambian/Norwegian Friendship Orchestra - S/T - Odin - LP 06 - LP - 1982 (Blend of Gambian and progressive big band music)
3. Masqualero - S/T - Odin - 4008 - LP - 1983 (Hip progressive jazz from Norwegian super group including Jon Balke, Nils Petter Molvaer, Tore Brunborg, Arild Andersen & Jon Christensen)
4. Kai Martin & Stick! - Simmama - Silence Records- SRS 4688 - LP - 1983 (Well done Swedish new wave - wanna read something weird?)

Location: 8/10 (Small city, man. Walk)
Price: 7/10
Stock: CD = 7/10 - LP = 8/10

Oslo

Oslo showed the most promise for records. The biggest, most cosmopolitan town in Norway, afterall. I had already done a bit of research and I knew that there was a shop dedicated to jazz and a good half dozen shops that had used records. We were limited on time so I was only able to hit a couple of them.

Bare Jazz – Grensen 8 - +47 22 33 20 80
www.barejazz.no

It took a minute to find Bare Jazz. We found the shop in a little alley about three blocks from our hotel on Karl Johans gate. Tucked behind a couple of boutiques and hipster coffee hangs, Bare Jazz has been the place to shop for jazz in Oslo for some time.

The prices! Oh, the prices! I didn’t see anything under NOK 198 ($38)! Amazing. I would be interested to know what the average income in Norway is. Maybe I don’t want to know…

Anyway… The store had a fabulous selection of jazz CDs from all over, especially of the Scandinavian. Vinyl selection was small and almost entirely new stock. There were a couple things that were original press in mint condition, some ECM and Stan Tracey’s Steam label.

Sadly, all I got at Bare Jazz was a strong Americano from the coffee bar upstairs.

Råkk og Rålls – Akersgatan 39 – 22412312

Just around the corner from Bare Jazz, we found Råkk og Rålls, Oslo’s largest used record store. The shop was less than a block to Karl Johans gate and about 50 meters from the Grand Hotel, right in the center of Oslo. Upon pleading, my dad gave me an hour.

The shop was big. Three stories cluttered with ephemera and stacked with records, CDs and DVDs. I could have easily spent all day. RoR obviously specialized in the many varieties of rock. Stores like this could potentially have a gold mine of jazz/avant-garde stock at low prices. My favorite.

I had read some reviews of poor customer service. I didn’t need much help and was directed to the jazz section after inquiring. Maybe the directions were given a little apathetically. The jazz section was downstairs at the back of the store and separated into two groups: Traditional and Modern. I went through both sections as I kept seeing some infiltration of mods into the trad majority. No big deal.

The selection was great. I was able to find two ECM releases that had never been reissued, another ODIN release and a weird out Polish recording. I had to cut myself off.

Another complaint I read seemed to have been about high prices. In the land of high prices this should be expected. I couldn’t vouch for the prices on rock and pop stuff but the jazz things that I found were less than I’d expect to pay for them in the States, whether on eBay or in a shop. I was a happy boy.

I really liked the shop and would have enjoyed spending more time but it wasn’t only my vacation. Onward to Vigeland Park!

The Haul:

1. Karin Krog og John Surman - Freestyle - Odin - 4017 - LP - 1986 (Cool minimalist vocal and synth/percussion/reed duets)
2. Barre Phillips - Music By... - ECM - 1178 - LP - 1980 (Excellent progressive stuff)
3. LASK - S/T - ECM - 1217 - LP - 1981 (Interesting trio with Ulrich Lask, Meinholf Bauschulte and Maggie Nicols that borders on new wave)
4. Priest & Big Cork - S/T - Muza/Polskie Nagrania - Z-SX 798 - LP - 1987 (Cool Polish small ensemble)

Location: 9/10
Price: 7/10
Stock: CD = 7/10 - LP = 8/10

Stavanger

Kind of a bust. Stavanger was rainy and cold. We were convinced not to climb Preikestolen (the reason we had gone) and had plenty of time to waste.

Vinylpalass – Kongsgata 36 – 40 57 04 58
www.vinylpalass.no

Where were you? We passed the store at least four times. It was never open. I had been on their website and the selection certainly looked interesting.

Being the only game in town, the store would definitely have made a sale and we would have been able to escape the rain for a little while. Oh well. Fit the pattern for Stavanger perfectly.