Liner Notes... the latest CD by Obi Kaye,"Dára jù ti je o" (the better to eat you) This latest series of recordings is a collection of traditional rhythms and original grooves designed to heighten the senses and awaken the primal needs and desires we all feel inside. In his latest Effort, Obi pays tribute to Oro and Egúngún (ancestor) societies Òòsà(Oricha) societies and more. Included on this CD are batá styles played in Benin(Adjara) & Nigeria/ Ògún State and Bembé makawa along with Afro-Cuban Rhumbas and new variations on Brasilian Samba. There are also new sounds & styles infused with traditional and employing recording techniques not commonly used in percussion environments. New & invented drums add new dimension to traditional rhythms and blendings af traditional instuments from varied cultures create new & unusual soundscapes. The Tracks: 1.Intro 2:14 Opening this CD, the introduction is a Batá rhythm played in the Lukumi style of Cuba and is a variation of Ñongo. Batá, Cowbell, Sekere, 2.Kanari 3:46 To the Dahomey peoples of Benin, the Kanari, a form of reliquary, is a clay vessel designed to house and protect the soul of an initiate. In more modern years, this form of reliquary has taken on a more sinister role in the west, particularly in Haiti where, the Sectè-Rouge is believed to use this pot to store the soul of the zombie. This track is a dedication to the Ancestors and is played using Udu, a drum played by the Igbo of Nigeria, Brasilian Berimbau which claims its origins in Angola, North African Tar, wind chimes and Vibra-slap. These sounds combined to create a haunting dedication to ancient ancestry too often forgotten. Berimbau, Shaker, Udu, Tar, Wind chimes and, Vibra-slap 3.Bembe 4:01 This is a variation of Bembe playing styles found in the Matanzas region of Cuba and also in the Oyó and `Ogún states in Nigeria where it is often played on Agban drums or even occasionally on Doununwa (djun-djun). Bembe is dedicated to the late master drummer, Suru Ekeh, whose music is of great influence for me. This track is also dedicated to my late friend and mentor, Oba Famie. Conga, Sekere, Cowbell 4.Ijó Egúngún 3:31 This Batá rhythm is derived from the playing styles of the Egúngún societies found at Sakete and Pobe in Benin as well as some the playing styles found in Abeokuta in Nigeria. These playing styles incorporate more drums than in the playing styles found here in the West as, two additional smaller drums played with rawhide sticks join the larger drums. These drums the Abo (girl) and Ako (boy) join the Iyá-ilù, Itototele and `Okónkòlò and play a form of cadence creating an interplay not often heard among western Batá players. Batá (Yorùbá style), Atsere, Cowbell 5.Ààrá ìró-dídùn/ healing groove 5:14 The sweet sound of thunder…The quinto lead in this project was deliberately recorded at a level below the basic conga and bongo rhythm to create a more subliminal sound. This track was recorded at a slower tempo to create a more meditative feel as well. Often the sound of distant thunder can be quite pleasant as, soon it brings with it the healing rains… The background “thunder” was created by playing a drum-gong that I built myself. Conga, Bongó, Shaker, Drum Gong, Cowbells, Quinto 6.Primal Sacred Love 4:10 The title here says it all… I will only share that the inspiration has been greatly profound. Berimbau, Tar, Udu, Singing bowl, Shaker 7.Orin Kònkò 3:51 Played on Conga and Cajón, this song is dedicated to the many Pàtàkìn of the Odù Ìretè’sá in which, the frogs are cursed to sing the way they now do for failure to make good on a promise made to the òòsà. When they reneged on their promise to kill a thousand elephants in return for the rain, they claimed that what they really meant was that they would sing a thousand songs… Thus it is to this very day that frogs sing the way they do. The frogs recorded on this track were recorded in my backyard after the flooding in my region in June of 2006. Conga, Cajón, Shaker, Guïro, live natural frogs… 8.Rumba for Èsù 3:12 Dedicated to the `Orìsà of the crossroads, divine messenger of Olódùmarè and bearer of justice… May he protect me on my path. Conga, Quinto, Cowbell, Shaker, Rainstick 9.Oògùn Oká 3:36 Played on Batá, “Viper Medicine” is another healing rhythm. The odd time signature stems from Bembe-Makawa rhythms which often do not follow a set meter. *Makawa rhythms would not normally be played on Batá, but I felt that this sound lent itself well to the feel I was trying to express. Batá, Atsere, Zoob-tube 10.Jigi Jigi Samba 3:52 This song is inspired by the Sekere and Dundun (talking drum) playing styles heard in the Oyó region of Nigeria. Jigi Jigi Isapa (shake, shake side to side) is the sekere rhythm which starts this song. Each additional instrument comes in one by one leading up to the Cuica and dundun to create the feel of a samba… Conga, Quinto, Sekere, Agogo, Cuica, Dundun, shaker 11.So Far Away 4:46 Originally, this piece was recorded before primal sacred love and was only intended to be a bonus track. Tar, Udu, Berimbau, Wood block, Singing Bowl, spoken word 
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