Naima
Meg Okura and the Pan Asian Chamber Jazz Ensemble
Self Produced 2010
Jazz is a truly international art form and Naima, the new album from Meg Okura and the Pan Asian Chamber Jazz Ensemble, proves this. The album contains rich layers that are drawn from music forms that span the globe. Asian, African, Irish, Gypsy, and American influences permeate the tracks. Rather than keeping these sounds separate the Ensemble weaves them together like a beautiful tapestry. Each piece seems to paint pictures and tell stories. The only way to truly discuss this album is to tell the stories that I have heard. The stories I tell below are what I heard when I listened to this album over a several day period. I have no doubt that my stories are not those of the artists involved and they may be different than the stories you hear. Do yourself a favor. Go to iTunes, or Amazon, or wherever you buy your music and get this album. If you want music that will transport you to another place you will not be disappointed. I hope that you find your own stories. I look forward to more music from this wonderful group of very talented musicians. Chamber Jazz has never sounded so good and Naima gives a new standard for the genre.
“Naima” is the classic number by John Coltrane. While Coltrane’s original was sultry and deep, Okura gives the piece a light and playful feel. The difference is pleasant and it makes it easy to listen to this as a recording in its own right and not just a cover of a classic jazz number. The interplay of the flute and the violin gives the piece the feeling of being outdoors with your lover, walking hand in hand. As the Ensemble moves to a slower pace you feel like slow dancing the night away.
“Hannah’s Vocalise” feels like an East meets West dialogue. The violin begins as the lone voice. It feels like an Asian visitor come to a new land. The piano recognizes her and says hello. The violin responds by continuing the melody. The flute joins in the welcome. The entire ensemble joins in welcoming the newcomer. The piano carries the melody line making it a little more western in its feel. As the sounds merge the various instruments take their turn mixing the melody in their own particular way. Giving the whole piece a comfortable smooth jazz feel. The newcomer is right at home in the New World.
In “Caprice” the violin plays the part of an Eastern European who comes to the New World. She announces herself and is immediately welcomed by the ensemble which begins playing a latin rhythm. The two worlds begin to dialogue as the violin continues to talk to the ensemble, still with the Eastern European accent. The piano responds with some jazz, explaining the New World to the arrival. The violin responds with passion, still in her own accent. The flute then comes in and explains how to mix the two. The violin then joins the flute. Finally the violin repeats her passionate plea to be accepted. The piano shows acceptance by repeating the power and accent of the violin. The entire ensemble then joins in for one final run together.
“Afrasia” feels a little disjointed at times, but not in an unpleasant way. At one point the piece feels like it could be the theme to a classic John Wayne western. At another point it could be the soundtrack to a ‘60s detective movie. The violin helps to fill in by playing some Asian style phrasings that move into a blues feel. The flute offers up some smooth jazz. The instruments continue to explore this dialogue between the Asian and blues influence. The many textures make for a fascinating piece.
“San San Nana Byoshi” begins with the instruments trying to find each other. They finally build up together and then drop back down again to allow the cello to play a solo that would equally be at home in a classical setting as a jazz setting. The rhythm section keeps the piece moving and feeling like it is in a hurry to get where it is going.
The last four tracks comprise the “Lu Chai Suite.” This is the true heart of the album. As wonderful as the the other tracks are they are only preparing you for this/ The first movement is titled “Empty Mountain.” It gives the feeling of distant longing. At times the strains are very Asian. You think of the Great Wall, and it feels like you can see Chinese watercolors coming to life. The cello solos giving the piece a feel that is almost Irish in its sound. In this piece I hear the longing of the various diaspora groups who have made their home in the New World, but still carry something in their hearts for the land of their ancestors.
The second movement, “Echo of Voices” begins with the flute. The other instruments come in and you feel like you are in a processional. Once again I can almost see the stylized landscapes painted so beautifully by the great Chinese watercolor masters. Then they seem to move through a magic door and suddenly they are in the New World playing some funky urban jazz. Then they seem to recover themselves and try to return to the landscapes, but the drums and bass still maintain a hold on them. The flute returns to the original refrain, but the hold of the New World is powerful. The funky rhythm reasserts itself and they come together. It is now one unit, no longer Old World, no longer New World. Perhaps the voices can finally echo as one.
“Sunlight” is a beautiful number. In some ways it is the most airy and enjoyable on the entire album. The entire piece floats around the central melody. Each instrument gets a chance to examine and play with the melody, but it is never lost. At eight minutes it is the longest piece on the album, but it does not feel like it
The final movement of the suite and the final track on the album is “Green Moss.” Once again the instruments play around the central melody. It is unhurried and peaceful. The ensemble has reached its destination and can meditate on the journey.
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