Randy Weston “The Spirits of Our Ancestors”

Tracks:
CD 1:
01 - African Village Bedford-Stuyvesant 1
02 - The Healers
03 - African Cookbook
04 - La Elaha-Ella Allah/Morad Allah
05 - The Call
CD 2:
06 - African Village Bedford-Stuyvesant 2
07 - The Seventh Queen
08 - Blue Moses
09 - African Sunrise
10 - A Prayer for Us All
All compositions by Randy Weston exc. CD1 No.4 (traditional).
*
Musicians:
Disc 1:
Randy Weston -piano (exc. 4); Idrees Sulieman -trumpet (on 2,3,5); Benny Powell -trombone & bass trombone (on 2,3,5); Talib Kibwe -alto sax & alto flute (on 2,5); Billy Harper -tenor sax (on 2,3,5); Dewey Redman -tenor sax (on 2, 3-left channel, 5); Alex Blake -bass (on 2,3,5); Jamil Nasser -bass (on 2-5); Idris Muhammad -drums (on 2,3,5); Big Black -percussion (on 3,5)); Azzedin Weston -percussion (on 2-4), karkaba (on 4); Yassir Chadly -genbri, karkaba, clapping & vocals (on 4).
Special Guest: Pharoah Sanders -tenor sax. (on 3-right channel).
*
Disc 2:
Randy Weston -piano ; Idrees Sulieman -trumpet (on 1,2,4); Benny Powell -trombone & bass trombone (on 1,2,4); Talib Kibwe -alto sax & alto flute (on1, 2,4); Billy Harper -tenor sax (on 1,2,4); Dewey Redman -tenor sax (on 1,2,4); Alex Blake -bass (on 1,2,3,4); Jamil Nasser -bass (on 1,3,4); Idris Muhammad -drums (on 1-4); Big Black -percussion (on 1-4); Azzedin Weston -percussion (on 1,4), karkaba (on 3); Yassir Chadly - karkaba (on 3).
Special Guests: Dizzy Gillespie -trumpet (on 4); Pharoah Sanders -gaita (on 3).
*
Recorded in NYC on May 20, 21,22, 1991.
**
Reviews (www.amazon.com):
-This 2 Cd Set revisits many of Weston's Classic compositions with some new arrangements by Melba Liston. Along with Weston's excellent "African Rhythms" band and Dizzy Gillespie and the great Pharoah Sanders sit in on a couple of tracks. All cuts are very strong but "African Cookbook" is on fire!
This is probably the definitive Weston. A good place to start if you unfamiliar with this musical "Giant." -Stephen

-Randy Weston and Melba Liston collaborate once again, bringing us one of the most interesting jazz albums I've ever heard (and I've heard my share). It has a perfect mixture of free form jazz with subtle touches of African influences (particulary percussion). The highlight of the album is 'Blue Moses'. Hearing Pharoah Sanders solo using the gaita along with 2 bass players playing at a ridiculously fast speed is just amazing. A must own cd! -Larry S. Boles Jr.

-...And you get Dizzy Gillespie and Pharaoh Sanders to boot! Randy Weston is a fantastic pianist and a true original. He started over 5 decades ago with a heavy Monk and Ellington influence. Since the early 60's Weston has traveled extensively throughout Africa and has worked all kinds of African elements seamlessly into his style, along with free jazz, to come up with a totally unique style. These influences are most obviously evident in the percussion instruments, but they are also present in his piano style, though you have to listen for them. -Andreas C G

Akosh Szelevenyi (Akosh S.) "Kebelen"

Akosh Szelevenyi - tenor & soprano saxophones, bass clarinet, metal clarinet, gardon, flute, bombarde, kalimba, vocal, trombone, trumpet;
Joe Doherty - violin, viola, alto saxophone, bass clarinet, flute;
Bertrand Cantat - vocals;
Nicolas Guillemet - soprano saxophone;
Mokhtar Choumane - flute ney, kaval;
Quentin Rollet - alto saxophone;
Bernard Malandain - doublebass;
Philippe Foch - drums, percussions;

Recorded at Studio Limoges, France, 2000.
*
01. Korai [06:05]
02. Magvak [11:29]
03. Tán [17:02]
04. Ota [15:16]
05. Ék [04:19]

*
Since the ECM label opened its jazz doors to improvisation based on European folk forms as much as on African-American traditions, other labels have followed suit. Saxophonist Akosh Szeleveny is Hungarian, his partners French, Irish and American. The resulting music blends wailing, minor-key melodies, literally off-beat timing and furious, whirling-dervish crescendi. But unlike the confined jazz/Balkan fusions of dance-band king Ivo Papasov - the only near parallel I can think of - Szelevnyi moves his music out towards free jazz, Indian raga and modern classical forms, creating a fascinating album with much more than curiosity value.

Akosh Szelevenyi is the best thing that has happened to French jazz, and consequently European jazz, in twelve years; The words are those of journalist Serge Loupien, writing in the daily Libération (October 5th, 1998) about the multi-reed-player and multi-instrumentalist Akosh S., who was born in Debrecen, Hungary, on February 19th, 1966.
The story of Akosh is the story of a man with a taste for freedom. The story of a citizen of the world who could never bear to be locked away in a single school of thought, a man who never swore faith, nor admitted to the slightest illusions based on the official, dominant line. As a child in his native Hungary, he learned to play the recorder, the clarinet and the bassoon. At 16, the adolescent opted for the saxophone, and attended classical and jazz classes at the Budapest Academy; in secret, he listened to the new sounds coming from America, the cries of passion thrown out by Ornette Coleman, John Coltrane, Archie Shepp, Dewey Redman, Pharoah Sanders, Albert Ayler, Don Cherry, Charlie Haden and his Liberation Music Orchestra... an authentic revelation. Akosh's quest is alive and burning, his music a genuine geyser.

BIOGRAPHY

The torrential breath and branding-iron heat in the sound of Akosh Szelevenyi has been radiating over the Parisian scene for fifteen years now. Ever since he arrived in the French capital, the young Hungarian, a saxophonist, clarinettist, multi-instrumentalist and composer, has been associated with the genuine (and jubilant) rebirth of the avant-garde – after the lengthy hegemony shared by fusion and neo-bop – as well as many other alternative movements; and in 1991 he formed his own little variable-geometry band (from four to nine musicians) and began making his own records. From the mid-Nineties on, the group (Akosh S. Unit) opened for Noir Désir and then, in 1997, the man hastily called a “free jazzman” by those fond of convenient qualifiers signed with Barclay Records (then a PolyGram label, today Universal). There followed a magnificent series of albums that were equally fiery, stirring and thrilling, and the final three (“Vetek”, “Kebelen” and “Lenne”), which mixed ‘live’ pieces with collages, formed a triptych that established a kind of inventory of that first “Unit”.

Then came the discovery of the new ensemble led by Akosh, a group now comprising Quentin Rollet on alto saxophone, Marseilles bassist Christian Brazier, drummer Gildas Etevenard and narrator Andras Wigh, a vocalist and specialist in all matters relating to the hurdy-gurdy, an instrument with almost-orchestral functions belonging to the string-family, albeit with a wind-up handle and keyboard. Its sound here reminds you of the sheets of sound that might come from a synthesiser coupled with a swarm of humming bees, or a violin with the distant scents of the Orient…

In 2003 the release of the album “Nap Mint Nap” marked a turning-point in the saxophonist’s career.

Recorded in a tiny country church at Vàmosszabadi in Hungary, AKI is Akosh’s most melodic album to date. For some years the saxophonist had been nourishing the idea of a solo album recording. All that was missing was the guiding line that would give the project form. Having finally opted for an almost ascetic sobriety, Akosh now gives us this album, a pure, fifty-minute improvisation that is a genuine raw diamond.
(http://www.jmp.fr/gb/bio_akosh.htm)

Ensemble Ambrosius “The Zappa Album”

Tracks:

01 Night School
02 Sofa
03 Black Page #2
04 Uncle Meat
05 Igor´s Boogie
06 Zoot Allures
07 Big Swifty
08 T´Mershi Duween
09 Alien Orifice
10 The Idiot Bastard Son
11 RDNZL
12 The Orange County Lumber Truck
13 Echidna´s Arf (of You)
14 Inca Roads
15 G-Spot Tornado

*

Musicians:
Josu Moisio - baroque oboe, baroque d' amore, glockenspiel.
Matti Vanhamäki - baroque violin.
Jonte Knif - chamber organ, melodica, harpsichord, dulcimer.
Ere Lievonen - harpsichord, chamber organ.
Tuukka Terho - archlute, baroque mandoline.
Jani Sunnarborg - baroque bassoon, oboe da caccia.
Olli Virtaperko - baroque cello ,violoncello piccolo.

Recorded in Helsinki, Finland on August 9-13, 1999.

*

Ensemble Ambrosius is a group that concentrates in contemporary music, using mostly Baroque instruments. Ambrosius was formed in 1995 and from the very beginning the music of American composer Frank Zappa (1940-1993) has been one of our main focuses.

The members of Ensemble flmbrosius have all gone through extensive studies of the performance practice of early music and have at some point studied in the Sibelius Academy, Helsinki. I myself became interested in contemporary music and Zappa in high school - up until then I had only been involved with classical music. However, as I continued my classical studies, I met the multi-instrumentalist Jonte Knif, who shared my Zappa-enthusiasm. With harpsichordist Ere Lievonen we eventually performed Uncle Meat with 2 harpsichords and a Baroque cello in 1995. This occured

at the final concert of an early music summer course where the oboist, Jasu Moisio, was present in the audience. Soon after that Jasu joined us, and what was originally in tended as a one-time musical joke led to the forming of Ensemble Ambrosius.

As we started to play Zappa's music, it became evident to us that the most demanding thing was to be able to retain the rhythmicality and metric pulse of the music. How to simulate the smooth co-operation of the rhythm section of the rock group -particularly the drums and the bass -was the crucial question.

However, before being able to play a single note, we needed to notate the music somehow. The arranging of "The Zappa Album" followed the good old Steve Vai - method: every note of the album was first transcribed from the tape and then arranged to the ensemble. Of the 15 pieces selected for this disc, Ere Lievonen arranged 5 pieces, the remainder having been completed by myself. Ere prefers to be extremely detailed in his arrangements, whereas I try to write down as few notes as possible, leaving the keyboard instruments, lute and cello a plentiful of liberties. In preparing my own arrangements I found it extremely useful having also toured with a big-band-sized Finnish rock group for the past five years, thus getting the vital first-hand knowledge of how the music of a large, amplified group functions. This knowledge has been very important in learning how the "styling" of FZ's music can be adopted for a classical combination.

As the musicians of Ensemble Ambrosius ore professionals in the field of Baroque music, it was natural for us to also apply the concept of the Baroque basso continue group to our interpretation of Zappa. In a basso continue group of the Baroque period, various musicians accompanied the melody with chords, improvising contrapuntal material. The desired chords were specified in scores with numbers above the bass line. As we played Zoppa, we soon learned that in a large Baroque basso continue group the liberties and rules of accompanying the melody rhythmically and harmonically are pretty much the same as with the rhythm section of a rock group. That made it possible for us to arrange Zappa's music for a non-amplified ensemble, and still retain the rhythmicality and metric pulse.

Olli Virtaperko, Ensemble Ambrosius

Hughes de Courson et Pierre Akendengué “Lambarena - Bach to Africa”

Tracks:
01 - Cantate #147, Jesu Joy Of Man's Desiring; Chanté Par Le Petit Aurelien [Johann Sebastian Bach -BWV 147/10]
02 - Sankanda (Chant Du Haut Ogoué); Lasset Uns Den Nicht Zerteilen) [Sami Ateba / Nana Vasconcelos]
03 - Mayingo (Chant Du Bas Ogoué); Fugue Sur Mayingo [Tomas Gubitsch]
04 - Herr, Unser Herrscher [Johann Sebastian Bach - Passion selon St-Jean, chorus No1
arr. H. de Courson]
05 - Mabo Maboe + Gigue de la 4me suite en mi bemol majeur pour violoncelle [Tomas Gubitsch]
06 - Bombe + Ruht Wohl, Ihr Heiligen Gebeine; Bombé, Cérémonie Bouiti ApinDJi [Bomb + Ruht Wohl, Ihr Heiligen Gebeine (Johann Sebastian Bach - Passion selon St-Jean, mouvement 67 - BWV 245]
07 - Pepa Nzac Gnon Ma + Prelude de la partita pour violon No 3 [Sami Ateba / Nana Vasconcelos]
08 - Mamoudo Na Sakka Baya Boudouma Ngombi + Prélude #14 [Johann Sebastian Bach -BWV 883]
09 - Agnus Dei [Johann Sebastian Bach -Agnus Dei (Messe en si, BWV 232, arr. P. Akendengu]
10 – Ikokou [Sami Ateba / Nana Vasconcelos]
11 – Inongo + Invention trois voix No. 3 en Re majeur, BWV 789 [Sami Ateba / Nana Vasconcelos]
12 – Okoukoue + Cantate 147 [Johann Sebastian Bach -BWV 1006]
13 – Was Mir Behagt, Ist Nur Die Muntre Jagd [(Johann Sebastian Bach /Sami Ateba / Nana Vasconcelos -Danse NDJobi Du Haut Ogoué, Tambours]
14 - Cantata, #147,"Jesus oue ma joie demeure" [Johann Sebastian Bach -Jesu Joy Of Man's Desiring" BWV 147/10,

*
Musicians:
Hughes de Courson - arrangement;
Pierre Akendengué - guitar;
Osvaldo Calo - organ;
Tomas Gubitsch - conductor;
Sami Ateba, Nana Vasconcelos - percussion;

Discography of Hughes de Courson:
Charlemagne (1993)
Lambarena - Bach to Africa (1995)
13 Croquis de Jeunes Filles As (1996)
Mozart in Egypt (1997)
Songs of Innocence (album) (1999)
O'Stravaganza - Vivaldi in Ireland (2001)
Lux Obscura: Un Projet Electro-Medieval (2003)
Mozart in Egypt 2 (2005)

Reviews:
This tribute to Albert Schweitzer mingles the classical music of two continents, combining well-known compositions by Johann Sebastian Bach with analogously themed traditional songs of Gabon. A sense of humor and adventure keeps the project from sinking under the burden of its conception, plus the talents of 13 formidable vocal and instrumental ensembles. The Sturm und Drang of the chorale prayer "Herr, Unser Herrsher" is underscored by fierce percussion, a Bach violin suite floats above a balafon in another cut, and the Gabonese vocal piece "Pepa Nzac Gnon Ma" allows just enough room for a peppy string counterpoint from the Prelude to Bach's third violin partita. It's rousing, heady fun that would have kept Schweitzer's trusty Victrola cranking for hours. ~ Bob Tarte, All Music Guide

*
Nacido como un homenaje a ALBERT SCHWEITZER, el proyecto LAMBARENA - Bach to Africa fue una concepción de MARIELLA BERTHÉAS y de la fundación "L'Espace Afrique", a quienes les debemos esta grabación. Lambarena reúne los dos elementos esenciales del "mundo del sonido" de SCHWEITZER: la música de BACH y las melodías y los ritmos nativos de su patria por adopción, el Gabón. Esta obra es el resultado de la colaboración de dos músicos dotados de un talento único: HUGHES DE COURSON, compositor y productor francés, que armó la estructura clásica de Lambarena, y PIERRE AKENDENGUÉ, autor, filósofo y guitarrista del Gabón con una discografía de más de 12 discos.

DE COURSON y AKENDENGUÉ empezaron su labor para Lambarena combinando las armonías tradicionales de Bach con diferentes armonías étnicas del Gabón (hay por lo menos 42 grupos étnicos diferentes en un país de tan sólo un millón de habitantes). Crearon un tejido de sonido fascinante que está compuesto por las voces de los cantos del Gabón y las melodías clásicas de BACH, compenetrado íntegramente por los ritmos subyacentes de la selva africana.

Después de meses de preparación, los 10 conjuntos de música del Gabón que PIERRE AKENDENGUÉ había escogido para que participaran en Lambarena viajaron a París para reunirse por casi 100 días en el estudio con ejecutantes de música clásica occidentales así como con los músicos argentinos del tango y jazz OSVALDO CALA y TOMAS GUBITSCH y con los percusionistas SAMI ATEBA y NANA VASCONCELOS.
El resultado de esta colaboración multicultural es Lambarena.

DAVID LIEBMAN "The Blessing of the Old, Long Sound"

featuring:
Alberto Mariani
Carlo Mariani
Tiziano Tononi
special guest:
Dionigi Burranca

Tracks:
1. The Blessing Of The Old, Long Sound (D. Liebman) 4:40
2. Africa (J. Coltrane) 9:46
3. Invasione (A. Mariani) 6:51
4. L'Aquilone Giallo (C. Marlani) 5:17
5. Punto D'Organo Ballo (C). Burranca) 6:07
6. Processione (D. Burranca) 4:52
7. The Drum Thing (J. Coltrane) 7:34
8. Elm (R. Beirach) 6:02
9. Spirits Renewed (D. Liebman) 6:40

Musicians:
David Liebman
soprano sax (all tracks except 'The Drum Thing"), tenor sax, flute ("Elm", "The Blessing"), sulittu [sardinian wooden flute] ("The Blessing"), synthesizer ("The Blessing").

Alberto Mariani
tenor sax ("Ballo Punto D'Organo", "Africa", "Spirits Renewed"), traditional (Mediana D, Mediana C, Fiorassio Bb) and specially projected launeddas [Punto Nuovo E, Punto D'Organo Gb9, Colmediana A].

Carlo Mariani
traditional (Fiorassio D, , Punto D'Organo G, Mediana C, Mediana D, Fiorassio Bb, Fiorassio C] and specially projected launeddas [Fiorassiana D].

Tiziano Tononi
congas, drums, boo-bam, assorted percussion.

Dionigi Burranca
traditional launeddas [Mediana a pipìa] ("Processione")

*
Recorded: Milan, November 20-25, 1989
**
Notes by David Liebman:

My experience with world or ethnic dates back to my group, "Lookout Farm" in the 1970s. Indian music wasincorporated into our sound and permeated several albums. In fact, a high point of all my travels still remains the recording we made in Bombay in 1976. The album called "Passing Dreams" featured the group's members interacting with four master Indian musicians.

The attraction of world music for an improvising musician like myself seems to be quite basic. These are the elements of spontaneous interpretation as well as ongoing improvisation of course. These are a given in ethnic music. But even more essential to me is the humaneness and passion which is so obvious in the folk music of any country. It is the truest expression of man's spirituality, uncluttered by intellect, yet embodying fantastic technique at the same time.

It was in Sardinia, while on tour with Paolo Fresu a few years ago, that I made the acquaintance of the launeddas and even played briefly with the Maestro, Dionigi Burranca. I met Alberto and Carlo Mariani while teaching in Rome and with their loving help, became more familiar with both the instrument and the music of Sardinia. Finally, Gianfranco Salvatore approached me to do this project.

What is the specialness of this music? For me, it is the obvious "joie de vivre" you feel as you listen and play in this language. These musicians celebrate life; the human spirit; the everyday fact of being alive. It is one of the most consistent joyful sounds I can image. Aberto Mariani is one of the most dedicated musicians I have known. When I tried to write some music for this project, I really didn't know what the launeddas was capable of, but 1 figured correctly that if anyone could make my ideas applicable, it would be Alberto. He is truly amazing and a very spiritual human being, Carlo is also a joy to be around and work with. And to be with the maestro - without understanding his words - I feel his wisdom and warmth as he spoke to his respectful students, Carlo and Alberto. How wonderful tradition can be - the passing of knowledge from generation to generation over the centuries.

Reviews:
Issued in 1989, the pairing of saxophonist and composer David Liebman with an Italian jazz trio would seem to signal an exercise in the deep, lush lyricism that jazzmen from Italy express no matter what side of the in/out fence they are on. But this set is more an exploration of tone, drone, and mode. These pieces are like mantras that come from time immemorial, whether they be Liebman's compositions or those of his collaborators Alberto and Carlo Mariani, Tiziano Tononi, or special guest Dionigi Burranca. Even John Coltrane's classic "Africa" is re-envisioned according to these age-old techniques and observances of sound as tone and tone as drone, with the drone being the most primordial of all sound objects and syntaxes. The strange exotic delight that takes place in the articulation of these frameworks, where melody is not a factor but harmony and interval become central, is almost pre-linguistic musically, yet it is advanced and very sophisticated -- particularly in the improvisational passages by Liebman and Alberto Mariani on saxophones against the traditional Italian launeddas. While many jazz fans might have a hard time with this, those open-minded enough to try something outside the shop will find this album not only fascinating, but compelling listening as well. ~ Thom Jurek, All Music Guide

*
“Launeddas, strumento del futuro. Così vuole il metodo di chi prova a ridisegnare l’identità delle tre canne simbolo di Sardegna. La firma di Liebman, il virtuoso del jazz che già aveva assaggiato i sapori etnici di un’isola mediterranea, avalla l’operazione sul Cd della New Sound Planet, etichetta di respiro avanguardista, anche grazie alla produzione di Gianfranco Salvatore. Alberto e Carlo Mariani, da anni impegnati con puntiglio nello studio delle "cannas" di ogni festa tra Campidano e Gallura, conquistati da armonie ronzanti, che affiancano adesso l’amico americano in una prova audace. E un ospite speciale e autorevole come può esserlo un patriarca della musica tradizionale sarda, Dionigi Burranca, benedice l’operazione innovativa. Nessun attentato all’ordine stabilito: basta spaziare con timbri e sovrapposizioni per ridiscutere precetti che hanno resistito ai secoli. La nuova vita di un pezzo d’archeologia sonora comincia da qui. Le tre canne dei nuraghi spesso somigliano incredibilmente ai sintetizzatori di Philip Glass e di John Surman. Le idee coltraniane rifioriscono nell’intreccio di sax soprano e launeddas, quasi avessero riscoperto la loro sorgente originaria. E il contatto tra stilemi jazzistici e suoni delle etnie diventa alchimia entusiasmante. Potrebbe essere lo slancio di un rinascimento, un decollo oltre il folclore”.
Angelo Porru - LA NUOVA SARDEGNA

Don Cherry "Multikulti"

Don Cherry
"Multikulti"
Don Cherry & Bob Stewart, Nana Vasconcelos, Carlos Ward, Ed Blackwell, Karl Berger, Peter Apfelbaum, Ingrid Sertso & others.

Tracks:
01 - Trumpet
02 - Multikulti Soothsayer
03 - Flute
04 - Birdboy
05 - Melodica
06 - Dedication To Thomas Mapfumo
07 - Pettiford Bridge (Carlos Ward)
08 - Piano/Trumpet (Don Cherry)
09 - Until The Rain Comes (Peter Apfelbaum)
10 - Divinity-Tree (Peter Apfelbaum)
11 - Rhumba Multikulti (Don Cherry / Robert Huffman /Josh Jones)
12 - Multikulti Soothsayer Player
Compositions 1-5 by Don Cherry
*
Musicians:
Track No 1: Recorded in NYC on January 20, 1990
Don Cherry -pocket trumpet.
Track No 2: Recorded in Santa Monica on February 23, 1990
Don Cherry -Doussn' gouni, voice, pocket trumpet.
Track No 3: Recorded in NYC on January 20, 1990
Don Cherry -Norwegian Birchwood flute.
Track No 4: Recorded in Hollywood on December 27, 1988
Don Cherry -pocket trumpet, pods;
John L.Price -drum programming; Mark Loudon Sims -bass; David Cherry -synthesizer;
Track No 5: Recorded in NYC on January 20, 1990
Don Cherry -melodica.
Track No 6: Recorded in NYC on November 20, 1989
Don Cherry -pocket trumpet, voice; Bob Stewart -tuba; Nana Vasconcelos -percussion; Carlos Ward -alto sax; Ed Blackwell -drums; Karl Berger -marimba; Peter Apfelbaum -tenor sax, cowbell, marimba; Ingrid Sertso -voice.
Track No 7: Recorded in NYC on November 20, 1989
Don Cherry -pocket trumpet, voice; Bob Stewart -tuba; Carlos Ward -alto sax; Ed Blackwell -drums;
Track No 8: Recorded in NYC on January 20, 1990
Don Cherry -piano, pocket trumpet.
Tracks No 9 & 10: Recorded in Berkeley, California on November 07, 1989
Don Cherry -pocket trumpet, voice; The Hieroglyphic Ensemble:Peter Apfelbaum -tenor sax ( solo), piano, Korg organ, Roland D-50 synthesizer, bells, gong; Bill Oritz -trumpet, voice; James Harvey -trombone (solo); Jeff Cressman -trombone, voice; Tony Jones -tenor sax; Jessica Jones -tenor sax; Peck Allmond -baritone sax; Will Bernard -guitar; Stan Franks -guitar; Bo Freeman -bass; Joshua Jones V -drums, timbales, cowbell, voice; Deszon X Claiborne -drums; Robert "Buddha" Huffman -congas,bell tree ,voice; Frank Ekeh -shekere, djun-djun, voice; Ingrid Sertso -voice (only on 9).
Track No 11: Recorded in Berkeley, California on November 08, 1989
Don Cherry -pocket trumpet, handclaps; Peter Apfelbaum -tenor sax,, piano, palitos, handclaps; Robert "Buddha" Huffman -gallo (lead vocal), 2nd quinto tumbadora; Joshua Jones V -harmony vocal, 1st quinto segundo, clace, handclaps; Chorus: Don Cherry, Karl Berger, Ingrid Sertso Claudia Engelhart, Peter Apfelbaum, Allen Ginsberg, Karen Knight
Track No 12: Recorded in NYC on January 20, 1990
Don Cherry -Doussn` gouni, voice, pocket trumpet.
*
MultiKulti Review:

It's obvious right from the title that Multikulti is another of Don Cherry's trademark fusions of jazz and world music...