| Finch, Catrin And Seckou Keita / Soar |
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| Album: | Soar | Collection: | World | |
| Artist: | Finch, Catrin And Seckou Keita | Added: | Mar 2018 | |
| Label: | Bendigedig | |||
| A-File Activity |
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| Add Date: | 2018-03-19 | Pull Date: | 2018-05-21 | Charts: | Reggae/World |
| Week Ending: | May 13 | May 6 | Apr 22 | Apr 15 | Apr 8 | Mar 25 |
| Airplays: | 2 | 1 | 2 | 2 | 3 | 1 |
Recent Airplay
| 1. | May 10, 2018: | Melange Hinna-Djulo, Bach To Baisso | 4. | Apr 19, 2018: | Melange Cofiwch Dryweryn, Hinna-Djulo, Hinna-Djulo | |
| 2. | May 10, 2018: | At the Cafe Bohemian Clarach | 5. | Apr 19, 2018: | At the Cafe Bohemian Teranga-Bah | |
| 3. | May 03, 2018: | At the Cafe Bohemian Teranga-Bah | 6. | Apr 12, 2018: | Totally A Listen To The Grass Grow |
| Album Review |
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| Margy Kahn Reviewed 2018-03-15 | ||
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Welsh harpist Catrin Finch was named Harpist to the Prince of Wales and Senegalese kora player Seckou Keita comes from a long line of West African griots and royalty. They collaborated on this album which takes as its motif the flight of the osprey; both players play more notes faster and more beautifully than I have ever heard anyone play harp or kora; this is fusion at its highest level No FCC's; favorite tracks: 1, 4, 6, 7, 8 *1—Clarach –6:03—name of first Dyfi osprey to be born in Wales in modern times and subsequently to return from Africa as adult to rear her own chicks; obviously with great meaning and significance to the musicians given their origins; beautiful and mysterious composition; tracks from minor to major 2—Teranga-Bah –5:58 – Teranga means “hospitality” in Wolof and Bah means “great” in Mandinka, both languages spoken by Seckou; lovely airy but rhythmic piece with harp and kora interweaving and Seckou singing “Open the gate” in the latter part 3-- Yama Ba—5:35 – nicely syncopated piece composed for a Fulani patroness by Seckou's uncle *4-- Bach to Baisso (5:50) – blend of classical Bach from the Goldberg Variations with one of the oldest tune-types in the kora repertoire; starts off with exquisite rendition of the Bach that segues into the not totally different-sounding very precise Baissa; with lyrics sung under the cascading notes 5—1677 (6:02) – commemorates the takeover of the island of Goree off Senegal by the French and the beginning of a horrific slave trade in the region; the blues sound represents the rocking of the boats that took them away *6—Listen to the Grass Grow –4:24 – with just a few chord changes Catrin Finch created this lovely flowing, harpistic piece *7—Hinna-Djulo—5:54 – in Mandinka this means “soul strings.” Long evolving collaborative piece between the two players; some nice quarter tones and trills in there *8 – Cofiwch Dryweryn –4:54-- commemorates farm land flooded in Wales in 1965 to supply Liverpool with water; gorgeous, crystalline lament with Catrin's voice declaiming and Seckou singing behind the unceasing arpeggios | ||
| Track Listing |
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| 1. | Clarach | 5. | 1677 | |||
| 2. | Teranga-Bah | 6. | Listen To The Grass Grow | |||
| 3. | Yama Ba | 7. | Hinna-Djulo | |||
| 4. | Bach To Baisso | 8. | Cofiwch Dryweryn |