Search - Hukwe Zawose, Michael Brook :: Assembly

Bagamoyo by way of Toronto

morgan1098 | Colorado Springs, Colorado USA | 05/29/2002

(4 out of 5 stars)

""Assembly" is not a rootsy, acoustic African album in the vein of Zawose's earlier releases. Neither is it an ethereal, ambient guitar album as one might expect from Michael Brook. Rather, it takes elements of both styles and mixes them up with funky brass, complex drum programming, and loads of creative energy to produce what might be described as "global techno rock." Still, the Zawose stamp is unmistakable, as Hukwe and nephew Charles, ilimbas and zezes in tow, sing, shout, clap and stomp their way through all nine tracks. Brook's keyboards, Infinite Guitar, ukelele and bass are augmented by some spicy horn playing courtesy of Lee Thornberg. In addition to the credited instruments, I also detected what sounded like tablas, an accordian, and a flute on select tracks. However, despite the musical layers and the careful attention to detail, the album retains a distinct laid-back feel (exemplified by the studio banter between Hukwe and Charles at the beginning of "Sina Raha/No Joy"). There's something for everyone here. While some of the arrangements are challenging (the tempo changes in "Ntambalize Lijenje/Pumpkin Life" make it a bit of a "song within a song," for example), the overall project has a surprisingly "pop" oriented feel to it. Fans of Zawose's stunning acoustic work will likely find that his voice and playing retain much of their impact when married to Brook's electronics. And purists will appreciate the final track, "Songa Mbele/Moving On," which kicks off with a keyboard drone but concludes with Hukwe's and Charles's simple and naked voices as they fade out into the Tanzanian night."

Delightful energy

ishmael fida | Columbus, OH USA | 09/15/2005

(5 out of 5 stars)

"Take the very alive soul of vocal african music. Infuse it with the deep striated notes of a master accompanist and orchestrator. Wrap it in insistent chaotic rhythms. Embrace - hard.



That is what Zawose and Brook manage to sound like: not the ubiquitous latin/blues/rock/techno stuff. If you buy this expecting the sobreity of a Geoffrey Oryema album, you'll be disappointed. 'Assembly' has a delightful energy that makes you want to jump up and dance for joy, with rich complex textures superbly interwoven - the opening track, Kuna Kunguni (The Bedbugs Bite) is a smashing introduction, and its reverbrations last until the last track, tranquil though it is. The only track that seems slightly out of sorts is Voices from Home, featuring Zap Mama's Marie Daulne. This is jazz at its best - sometimes staccato, sometimes liquid, always enthused. This album holds no promises, only enticements - what "world" music should be."

Difficult music

ishmael fida | 01/12/2004

(2 out of 5 stars)

"If you are familiar with Michael Brook's other Real World cd releases then this cd may disappoint you. The pairing of Brook with his signature, infinite guitar and Dr. Zawose with his huffing and grunting Tanzanian tribal vocal art doesn't quite gel. Previous Real World releases with Brook as collaborator showcase the ethereal/ambient stylings of Brook's guitar. The soundscapes he creates work particularly well with Nusrat Fetah Ali Kahn, and Jane Sieberry (both available on Real World) however, the rich tapestry formerly available on Brook's other pair work isn't readily apparent here.
Zawose's vocal contributions seem to be edited or grafted on to compositions. The liner notes mention the use of E Magic software which is more or less a cut and paste studio producer's tool. Accordingly, Zawose doesn't shout and hollar in a live setting. His vocal contributions are grafted on to the compositions.Subsequently, the vibrancy and interplay of musicians in a mutually contributing studio setting isn't available here.
Over-all, the sound is difficult music. On hearing the samples on this web page, you may find the vibrancy and rhythmic structures intriguing, but the grooves don't last for long. Horn sections blare a few bars, only to be replaced by more shouts. Then, inexplicably, there is a guest performance from Zap Mama's Marie Dauine who lends her Manhattan Transfer meets Taurette's Syndrome beboppin' vocal play to one of the compositioins. That in itself seems an incongrous contribution. I agree with the listener who mentions former Real World releases by Ugandan exile Geoffery Oryema(similar East African location as Zawose-but an altogether different vocal tradition) as more substantial and satisfying than this particular release."