About this album
I’ve always liked that cut featuring Charlie Parker playing with the Machito Orchestra on Mario Bauza’s arrangement called ‘Mango Mangue’. I first heard it when I still lived in Chicago. Bird was killin on that. That was the first time I’d ever heard these two particular traditions (AfroCuban and African American) come together through common roots. That music made a big impression on me but it would take twenty years before that initial inspiration would manifest, in a very different form thanthe music of Parker/Bauza/Machito.
1996 was an important year for me. During the latter part of 1995, I began to investigate an idea that I’d been thinking about for at least 7 years. I wanted to form a creative collaboration using one of my groups (Steve Coleman and the Mystic Rhythm Society) and musicians, singers and dancers who were involved in certain ancient philosophical/musical traditions which come out of West Africa. One of my main interests was the Yorùbá tradition (predominantly out of southwestern Nigeria) which contained the ancient African religion underlying Santeria (Cuba and Puerto Rico), Candomble (Bahia, Brazil) and Vodun (Haiti). I decided to go to these places and investigate the way the ideas of these traditions were transmitted through music. First stop, Cuba! This trip would make a profound impact on my philosophy and music.
In Cuba, I found that the situation was more complex than I’d imagined; the people had preserved more than one African culture and these were mixed together under the general title of Folklore. There are the Abacuá societies (Ngbe, Ejagham), the various Arara cults (Dahomey), the Congo traditions (Nganga, Mayombe, Palo Monte) as well as the Yorùbá traditions. But I did find one group called AfroCuba de Matanzas that specializes in preserving all of the above traditions as well as various styles of Rumba.
AfroCuba de Matanzas are also masters of the Bàtá drums, sacred drums used in Yorùbá rituals and ceremonies to summon the Orishas (or Òrìsà which means Selected Heads), the various spiritual manifestations of God represented by forces of nature. The sacred set of three Bàtá drums is the most important musical symbol of the Yorùbá culture reconstructed by the Africans in Cuba. The Bàtá are three different sized, two-headed, truncated, cone-shaped talking drums. The largest drum is called the Ìyá (mother), the middle size drum is called the Itótèlée (the next one that is junior) and the smallest drum is called the Okonkolò. Kónkó means to be puny or undersized so the Okonkolò is the small drum that uses the kónkó sound to play the ‘stuttering’ konkolò drum phrase (kólòlò means stutter).
In January of 1996 I went to the town of Matanzas to study the Cuban folkloric musical traditions, contact AfroCuba de Matanzas and arrange a meeting with the leader of this group, Francisco Zamora Chirino (otherwise known as Minini). Minini was excited about the idea of bringing together The Mystic Rhythm Society and AfroCuba. We talked further and made arrangements for a musical collaboration that would take place in February during the time of the Havana Jazz Festival, in order to give this special group a chance to perform before the Cuban public.
In February I rented a large house in Havana and set up shop with the Mystic Rhythm Society (a group of eleven musicians and dancers), a three person film crew and the group AfroCuba de Matanzas (ten of whom had been bused in from their home town of Matanzas). The project had begun. For 12 days the two groups hung out, worked, conceptualized and practiced together to achieve a cohesive sound. After our performance at the Havana Jazz Festival, the musicians went into Egrem Studios in Havana and recorded the music. The results of this effort are preserved on this recording and on a documentary film shot by Eve-Marie Breglia based on my music and the theme of cultural transference.
This project is part of the realization of a vision that I’ve had for some time now. It represents a step in the evolution of the music I’m involved with, exploring ways of communicating information through sound. It also shows that there is a more obvious connection than is generally thought between the creative music of today and the dynamic musical traditions of African peoples living in various parts of the world. This recording is about roots, about a common conception regarding how music is created. It is the African idea of expressing the universe through sound that forms the common bond here. That idea involves the process of expressing forces of nature in their rhythmic-tonal configurations, the underlying concept of the music of both AfroCuba de Matanzas and Steve Coleman and The MysticRhythm Society.
The universe is full of rhythm: continual pulsation; ebb and flow; death, birth and regeneration. The stars, planets, seasons, oceans and all of life move in cycles. This cyclic form is the manner in which the rhythmic-tonal formations progress and the relationship of these cycles gives this music it’s identity.
There are many layers of musical cycles on this recording and there is multiple symbolism and meaning in each of the various levels. This symbolism cannot be adequately described using words however I’ve tried to supply some translations to some of the lyrics below. Where the lyrics are in Yorùbá, I’ve tried to follow the Nigerian translations (not the creolized Cuban pronunciations).
Steve Coleman
The Diurnal Lord (for Agayú or Aganjú)
Notes
Agayú or Aganjù, which means wilderness or uninhabited plain or forest in Yorùbá, is symbolized by the volcano and the sun in Cuba. Agayú is said to be the child of Oro Iná (Fierceness of Fire). Oro Iná is the lake of molten magma boiling at the core of the world. It is her son Agayú who restrains and channels her explosive powers.
Lyrics
EPÒ S’OLÀ ‘K’NI’BA O, EPÒ S’OLÀ ‘K’NI’BAO,
Abundance that makes wealth, the one who is greeted as king,
Abundance that makes wealth, the one who is greeted as king,
ÀKÀRÁ O, S’OLÀ ‘K’NI’BA O LÒWÚ YÈ, MO DÁ NK’ O
Great noise who makes wealth, the one who is greeted as king,
You use celebration to mark your installation as chief, I act alone insaluting you.
Personnel
Alto Saxophone Steve Coleman
Tenor Saxophone Ravi Coltrane
Trumpet Ralph Alessi
Piano Andy Milne
Bass Anthony Tidd
Drums Oliver Gene Lake
Lead Vocal Francisco Zamora Chirino (Minini)
Chorus:
Maria Delores Perez Herrera
Sara Gobes Villamil (Mima)
Luis Cancino Morales
Ìyá Ramon Garcia Perez (Sandy)
Itótèlée Francisco Enrique Mesa Cespedes
Okonkolò Reynaldo Gobes Villamil (Naldo)
Quinto Pedro Aballi Torriente (Regalao)
Kata Ramses Zamora Molina
Clave Josh Jones
Written by Steve Coleman and Francisco Zamora Chirino (Minini)
The Seal (Elekotó, for Agayú or Aganjú)
Notes
Another song to praise Agayú. The many layers of conversationsin this piece are idiomatic of the non-linear approach to life in ancientAfrican cultures and the way these cultures relate to the universe.
Lyrics
ELÉEKÒ E ELÉEKÒ E AGANJÙ ELÉEKÒPÈ ‘LÁYÉ
Owner of vigor, owner of vigor,
wilderness owner of vigor we cry out greetings to you chief.
Personnel
Alto Saxophone Steve Coleman
Tenor Saxophone Ravi Coltrane
Trumpet Ralph Alessi
Piano Andy Milne
Bass Anthony Tidd
Drums Oliver Gene Lake
Lead Vocal Francisco Zamora Chirino (Minini)
Lyricist/Rap Kokayi
Chorus:
Maria Delores Perez Herrera
Sara Gobes Villamil (Mima)
Luis Cancino Morales
Ìyá Ramon Garcia Perez (Sandy)
Itótèlée Francisco Enrique Mesa Cespedes
Okonkolò Reynaldo Gobes Villamil (Naldo)
Quinto Pedro Aballi Torriente (Regalao)
Kata Ramses Zamora Molina
Clave Josh Jones
Written by Steve Coleman and Francisco Zamora Chirino (Minini)
Passage Of The River (for Oshún or Òsun)
Note
A daughter of Yemoja. In Yorùbá the name Oshúntranslates to mean “Spring” or “Source”. As fresh water,she is the source of life for the world. Oshún is wisdom and wastaught the art of sixteen cowry divination by Obàtálá.
Lyrics
ÌYÁ MI ILÉ ODÒ, ÌYÁ MI ILÉODÒ
My mother’s house is the River. My mother’s house is the River
GBOGBO ÀSE
All powerful
OB’ NI SÁLÀ MÁA WÒ E
Women that flee for safety habitually visit her
ÌYÁ MI ILÉ ODÒ
My mother’s house is the River.
Personnel
Alto Saxophone Steve Coleman
Tenor Saxophone Ravi Coltrane
Tenor Saxophone Yosvany Terry Cabrera
Trumpet Ralph Alessi
Piano Andy Milne
Bass Anthony Tidd
Drums Oliver Gene Lake
Lead Vocal Francisco Zamora Chirino (Minini)
Chorus:
Maria Delores Perez Herrera
Sara Gobes Villamil (Mima)
Luis Cancino Morales
Ìyá Ramon Garcia Perez (Sandy)
Itótèlée Francisco Enrique Mesa Cespedes
Okonkolò Reynaldo Gobes Villamil (Naldo)
Clave Josh Jones
Written by Steve Coleman, Francisco Zamora Chirino (Minini) and YosvanyTerry Cabrera
Oyá Natureza
Notes
Oyá, another daughter of Yemoja, is symbolized by the tornadoand represented by forked-lightning. She is called Oloododo (the ownerof Truth/Sincerity) and is depicted holding a long sword in each hand.She is the love and wife of Sàngó. This song is dedicatedto Oyá and sung by Rosangela Silvestre from Bahia, Brazil.
Lyrics
Translation of Portuguese:
AH! MINHA GRAÇA, MINHA RAÇA
Ah! my grace, my race
MINHA PIRRAÇA, MINHA TRANÇA
My attitude, my braids
MINHA HERANÇA, MINHA DANÇA
My inheritance, my dance
MINHA GUIA, MEU DIA
My guide, my day
MINHA MAGIA, MEU ENCANTO
My magic, my incantations
MEU QUEBRANTO, E MEU SANTO
My strut, And my saint
OYÁ, DEUSA DO VENTO
Oyá, goddess of the wind
OYÁ, DEUSA DO RAIO E DO TROVÃO
Oyá goddess of thunder and lightning
OYÁ, A MOÇA DE VERMELHO QUE ENCANTA
Oyá the girl in red that enchants
OYÁ, A DEUSA DO AMOR DE XANGÔ
Oyá the goddess of the love of Sàngó
OYÁ, SETE FORCAS, SETE DONAS
Oyá seven forces, seven powerful women
OYÁ, ANIMAL DE PELE PINTADA
Oyá animal with the painted coat
OYÁ, O RÔNCO DA FORÇA DIVINA
Oyá the roar of divine force
OYÁ, MULHER E HOMEM DO DOMINIO DA RAÇA
Oyá woman and man that dominated the race
OYÁÖÖ (repeated backwards)
Personnel
Alto Saxophone Steve Coleman
Lead Vocal Rosangela Silvestre
Lyricist/Rap Kokayi
Congas Ramon Garcia Perez (Sandy)
Djembe Marivaldo Dos Santos
Clave Luis Cancino Morales
Bass Anthony Tidd
Drums Oliver Gene Lake
Written by Steve Coleman and Rosangela Silvestre
Secretos Del Abacuá
Notes
Abacuá is the name of an all-male secret society in Cuba whichcomes from the Ngbe secret society of the Ejagham people of southwesternCameroon and southeastern Nigeria. The music in this selection is in partfrom this tradition. Abacuá is to this day a strong tradition inCuba. Several of the members of AfroCuba are high ranking members in theAbacuá society. The language that is sung in this song is called”Carabali” (meaning men and women from Calabar slaving areas.Calabar was one of the notorious slaving ports of Africa). The meaningof the text is secret, known only to the members of Abacuá, butspeaks mainly of an area where certain rituals were performed. The musicpresented here has strong roots in this tradition, but as elsewhere onthis recording it is not pure Abacuá.
Personnel
Alto Saxophone Steve Coleman
Tenor Saxophone Ravi Coltrane
Trumpet Ralph Alessi
Piano Andy Milne
Bass Anthony Tidd
Drums Oliver Gene Lake
Lead Vocal Francisco Enrique Mesa Cespedes
Chorus:
Francisco Zamora Chirino (Minini)
Pedro Aballi Torriente (Regalao)
Reynaldo Gobes Villamil (Naldo)
Luis Cancino Morales
Ramon Garcia Perez (Sandy)
Ramses Zamora Molina
Obiapá Luis Cancino Morales
Kotchierimá Pedro Aballi Torriente (Regalao)
Binkomé Reynaldo Gobes Villamil (Naldo)
Boncó Enchimillá Ramon Garcia Perez (Sandy)
Obón Palito Ramses Zamora Molina
Ekón/Erikunde Josh Jones
Percussion Set (solo) Roberto Vizcaino Guillot
Written by Steve Coleman and Francisco Zamora Chirino (Minini)
Saudade (I miss you)
Notes
Basically a love poem about missing someone spoken by Rosangela Silvestre.
Personnel
Alto Saxophone Steve Coleman
Lead Vocal Rosangela Silvestre
Ìyá Ramon Garcia Perez (Sandy)
Itótèlée Luis Cancino Morales
Okonkolò Marivaldo Dos Santos
Bass Anthony Tidd
Drums Oliver Gene Lake
Written by Steve Coleman and Rosangela Silvestre
The Metamorphosis Of Amalia
Notes
An improvised song about a woman. It is played partly in the Yambústyle which is a type of Rumba but again the cycles of this style havebeen realigned using additional cyclic forms.
Lyrics
Amalia, Amalia Amalia Amalia
Viva Italia viva Amalia
Long live Italy, long live Amalia
Quien no canta quien no baila
Who doesn’t sing, who doesn’t dance
Si mañana yo me muero
If I die tomorrow
Qien se acordará de mi
Who will remember me
Solamente la jirafa
Only the giraffe
Por el agua que le di
For the water that I gave it (the giraffe)
Viva Italia viva Amalia
Long live Italy, long live Amalia
En la rumba matancera
In the Matanzas rumba
En la casa de AfroCuba
In AfroCuba’s house etc..
Personnel
Alto Saxophone Steve Coleman
Tenor Saxophone Ravi Coltrane
Trumpet Ralph Alessi
Piano Andy Milne
Bass Anthony Tidd
Drums Oliver Gene Lake
Lead Vocal Francisco Zamora Chirino (Minini)
Lyricist/Rap Kokayi
Chorus:
Maria Delores Perez Herrera
Sara Gobes Villamil (Mima)
Luis Cancino Morales
Cajun Ramon Garcia Perez (Sandy)
Conga (Golpe) Pedro Aballi Torriente (Regalao)
Conga (Llamador) Reynaldo Gobes Villamil (Naldo)
Kata Ramses Zamora Molina
Percussion Set (solo) Roberto Vizcaino Guillot
1st Clave Francisco Enrique Mesa Cespedes
2nd Clave Josh Jones
Written by Steve Coleman and Francisco Zamora Chirino (Minini)
The Mystery Of Seven (The Guaguancó in progression)
Notes
This is a selection of several styles done as a suite: Prologue, Guaguancó,Abacuá/Obatalá, Són, Abacuá/Obatalá,,Montuno, Epilogue. The basis of the styles are Cuban popular styles butthese selections have been altered in fundamental ways. This piece is ina 7:5 alignment (seven movements in five forms).
Lyrics
(GUAGUANCÓ)
Señores presentes oigan bien (repeat)
Everybody listen, listen up
Soy Cubana y me gusta el Guaguancó (repeat)
I’m Cuban and I like the Guaguancó
Como me vas a decir, que es una cosa vulgar (repeat)
How are you going to tell me, that it’s a vulgar thing
(ABACUÁ/OBATALÁ)
Si cuando pasa la conga detras de la puerta te pone a bailar (repeat)
When you hear the conga behind the door it’s going to make you dance
(SON)
Yo te enseñaré, un viejo refrain (repeat)
I’m going to teach you, an old saying
(ABACUÁ/OBATALÁ)
El que no tiene de Congo, tiene de Carabali (repeat)
He who doesn’t have Congo, Has Carabali
(MONTUNO)
Baila mi Guaguancó, Baila mi Guaguancó (Chorus)
Dance my Guaguancó, dance my Guaguancó (Improvisations etc.)
Personnel
Alto Saxophone Steve Coleman
Tenor Saxophone Ravi Coltrane
Trumpet Ralph Alessi
Piano Andy Milne
Bass Anthony Tidd
Drums Oliver Gene Lake
Lead Vocal Sara Gobes Villamil (Mima)
Lyricist/Rap Kokayi
Chorus:
Francisco Zamora Chirino (Minini)
Maria Delores Perez Herrera
Luis Cancino Morales
Tumbadoras Ramon Garcia Perez (Sandy)
Quinto Pedro Aballi Torriente (Regalao)
Ìyá Francisco Enrique Mesa Cespedes
Itótèlée Luis Cancino Morales
Okonkolò Reynaldo Gobes Villamil (Naldo)
Kata/Cambana Ramses Zamora Molina
Clave Josh Jones
Written by Steve Coleman and Francisco Zamora Chirino (Minini)
Steve Coleman and The Mystic Rhythm Society (The Sign)
Steve Coleman (leader, alto saxophone)
Andy Milne (piano)
Anthony Tidd (bass)
Gene Lake (drums)
Ralph Alessi (trumpet)
Ravi Coltrane (tenor saxophone)
Josh Jones (assistant musical coordinator, percussion)
Kokayi (Carl Walker) (lyricist)
Marivaldo Dos Santos (percussion)
Rosangela Silvestre (dance and vocals)
Laila Jenkins (dance)
AfroCuba de Matanzas (The Seal)
Francisco Zamora Chirino (Minini) (leader, percussion and vocals)
Francisco Enrique Mesa Cespedes (percussion and vocals)
Pedro Aballi Torriente (Regalao) (percussion and vocals)
Reynaldo Gobes Villamil (Naldo) (percussion and vocals)
Luis Cancino Morales (percussion and vocals)
Ramon Garcia Perez (Sandy) (percussion and vocals)
Maria Delores Perez Herrera (dance and vocals)
Sara Gobes Villamil (Mima) (vocals)
Teresa Dome Perez (Teresita) (dance)
Yesniel Perez Domenech (Chini) (dance)
Special guests
Yosvany Terry Cabrera (assistant musical coordinator, tenor saxophone)
Roberto Vizcaino Guillot (percussion)
Additional production personnel
Jerzy Bell (recording engineer)
Joseph Marciano (mixing engineer)
Ileana Hernandez Martinez (manager of AfroCuba)
Sophia Wong (project coordinator in USA)
Carolina Sanchez (project coordinator in Cuba)
Lisa Maria Salb (research consultant)
Eddie Bobe (research consultant)
Eve-Marie Breglia (coordinator of documentary film project)
Caribbean Music and Dance (project consultants)
Track List
- The Diurnal Lord (for Agayú) 07:56
- The Seal (Elekotó for Agayú) 09:35
- Passage of the River (for Oshún) 09:08
- Oyá Natureza 04:57
- Secretos del Abacuá 11:19
- Saudade 05:11
- The Metamorphosis of Amalia 12:31
- The Mystery of Seven (the Guaguancó in progression) 13:00
- Prologue 00:19
- Guaguancó 02:35
- Abacuá/Obatalá 01:39
- Són 02:28
- Abacuá/Obatalá 00:27
- Montuno 04:42
- Epilogue 00:46
Credits
THE SIGN AND THE SEAL
(Transmission of the metaphysics of a culture)
Producer: Steve Coleman
Production Assistant: Sophia Wong
Executive Producer: Daniel Baumgarten
Overall Project Coordinator: Rémi Sommers
Recording Engineer in Cuba: Jerzy Bell
Additional recording in France: Alain Cluzeau
Mixing Studio: Systems Two, Brooklyn NY
Mixed by Steve Coleman and Joseph Marciano
Liner notes by Steve Coleman
Recorded at the Egrem Studios in La Habana Cuba February 21-23, 1996
Additional recording done at Studio Acousti in Paris France March 20, 1996
Mixed April 1996 at Systems Two Recording Studio in Brooklyn, NY
All songs written by Steve Coleman are published by Goemon PublishingCo. (SESAC/GEMA).
Special thanks for the spiritual guidance of Tom Goodwin and Muhal RichardAbrams to whom this recording is dedicated. Information about various Orishasborrowed from the book “Orin Orisa” by John Mason. Some informationon Abacuá borrowed from the book “Flash of the Spirit” by Robert Farris Thompson. Most other information was provided by severalmembers of the group AfroCuba de Matanzas. Additional information was providedby Eddie Bobe, Yosvany Terry Cabrera, Josh Jones and Lisa Maria Salb.
Steve Coleman plays Vandoren mouthpieces and reeds.
Download
Music available on the download page.