Whole Life Magazine

August/September 2014

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At the Temple Door AJEET KAUR T here is a new vanguard of Kundalini chanteuses tran- scending the norm in an oft-crowded genre by following a personal vision that drives their artistic expression and creative process. Following in the footsteps of the universally beloved Snatam Kaur is Ajeet Kaur, who now tours and sings with Snatam, her primary inspiration. On Ajeet's newest release her indelible vocals weave songs and mantras over a bed of Todd Boston's light fi nger-style guitar, fl utes, cello, tabla and Snatam's lovely harmonies. Ajeet's pure, soft and soothing voice brings a special healing message in each song. With Ra- mesh Kannan, Hans Christian, Ram Dass Khalasa and another member of Snatam's current band who dazzled the audi- ence on tour this past spring, Sukhma- ni Kaur Rayat, this album dazzles with seemingly endless depths of beauty. The voice of an angel, fl oating in billows of divine music, layered with love as "an offering at the door of the heart, the most sa- cred temple." (Spirit Voyage) —Lloyd Barde R ock musicians sometimes have a penchant for the ob- scure. Rolling Stones guitarist Brian Jones brought the ec- static blares of Morocco's ritualistic Jajouka pipe music to the world in 1971, for example. A few years back, Washington D.C. punk drummer Jason Hamacher misheard a friend leaving a crackly cell phone message. Instead of "Serbian chants," he heard "Syrian chants." Something clicked. Hamacher's sudden passion led to the realization that in 1,800 years, no one has ever recorded the vocal religious chants of Syria's Christian, Jewish and Islamic religious communities. A few lucky emails later and Hamacher was in Alep- po accomplishing what no one else had. The six chants released on this beautiful recording are testament to the meeting point of good and bad technologies. Hypnotizing and utterly unique, even shoddy telecommunication service can lead to incredible journeys. (Lost Origins/Electric Cowbell) —DB L ondon collective the Heliocentrics hates labeling their sound. The accomplished musicians do borrow heavily from African traditions, on its records as well as the 2009 collaboration with Ethiopian jazz legend Mulatu Astatke. This time around the band links with Nigerian legend Orlando Ju- lius, who began fusing African traditional music with R&B in Ibadan in the mid-'60s. While not as well known as the late Fela Kuti, Julius's grooves run as deep. This nine-track col- lection features a number of previously unrecorded versions of his songs. The opening "Buje Buje" is produced like a '60s throwback, with its punchy rhythm and driv- ing saxophone. "Oma Oba Blues" is a percussive cruiser with call-and-response vo- cals and a nasty bass line. The 11-minute "Be Counted" would make his Nigerian juju counterpart, King Sunny Ade, proud: seductive, spacious and rhythmic. Another killer collaboration between London and Africa. (Strut) —Derek Beres Jaiyede Afro ORLANDO JULIUS WITH THE HELIOCENTRICS MUSIC Ancient Sufi Invocations & Forgotten Songs from Aleppo NAWA august/september 2014 33

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