Randy Weston African Rhythms
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BLUE MOSES

recorded  March > April  1972  
New York  USA
CD    1999  King  (Japan)
LP    1972  CTI    6016


| real | wm |


         liner notes


Randy Weston piano, electric keyboard
Ron Carter
bass
Vishnu Bill Wood
bass  (on 3)
Bill Cobham
drums
 

  1  Ifrane  (Weston)
  2  Ganawa - Blue Moses (traditional)
  3  Night in Medina  (Weston)
  4  Marrakesh Blues  (Weston)

David Horowitz synthesizer
Freddie Hubbard trumpet
John Frosk
trumpet
Alan Rubin
trumpet
Marvin Stamm trumpet
Wayne Andre
trombone, baritone horn
Garnett Brown
trombone
Warren Covington
trombone
Paul Faulise
trombone, bass trombone
Brooks Tillotson
french-horn
James Buffington
french-horn
George Marge english horn, clarinet, flute, alto flute, bass flute
Huberi Laws flute, alto flute, bass flute, electric flute, piccolo
Romeo Penque
hobo, english horn, clarinet, flute,
alto flute, bass flute, piccolo
Grover Washington tenor sax
Phil Kraus
percussion
Airto Moreira
percussion
Azzedin Weston
percussion
Madame Meddah
vocal

Don Sebesky
arranger, director
Randy Weston
liner notes
Don Sebesky
arranger
Rudy Van Gelder
engineer
Bob Ciano
design
 


BLUE MOSES

GANAWA       (Gnawa / Gnaoua)

African music is the creative source of much of the world's music - its influence extends not only to Europe and the Americas, but into the Far East.  The music of Morocco, a country with o great variety of people, music and scenery, is port of Africa's musical heritage.

GANAWA (Blue Moses),
The title song, is adapted from the rhythms and melodies of a religious song, "Sidi Mussa"
(Arabic for Moses), one of the spirits evoked by an Islamic brotherhood of the Gnawa.
(All the North African rhythm patterns have a spiritual identity; each identity has its own color
- Sidi Mussa's color is blue.)
There are a number of these brotherhoods in North Africa; the Gnawa originated in West Africa, and most of its members ore black. There are groups in Mali and among the Hausa in northern Nigeria whose music, rhythms and rituals are similar to those of the Gnawa in Morocco and Tunisia.

The music of the Gnawa, which is passed from generation to generation without being written, is heard throughout Morocco. The instruments used vary in different areas, but generally the Gnawa use the gembri, a large box-shaped three-stringed instrument that is held like a guitar and sounds somewhat like a stringed bass; kakobars, large iron "castanets" held in the hands (which may be the forerunner of the sock cymbal); various kinds of drums and hand-clapping. (My son, Azzedin, learned the Gnawa rhythms he plays on his drums by listening carefully to the kakobars.)

MARRAKESH BLUES is a musical portrait of the beautiful red city in the south of Morocco where the Atlas Mountains meet the Sahara Desert. I've tried to convey some of the flavor of the great square in Marrakech, where actors, dancers and musicians perform all day long.

NIGHT IN MEDINA expresses my feeling of peace, but peace tinged with apprehension, during a three a.m. walk in the twisting streets of the Medina
(the old city) in Rabat, on a night when the moon was full.

IFRANE is the result of a visit to that ski village high in the Atlas Mountains, where I heard African rhythms from the beautiful, snowy Moroccan countryside.
I am in the debt of the Moroccan people for their help and inspirations.

1972 Randy Weston 

 

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