Jazz trumpeter, Feya Faku, knights drummer Jeff Siegel’s Quartet in kingly fashion in “King of Xhosa” CD.
by Carol Martin, All Jazz Radio
American drummer, Jeff Siegel, has discovered and gleefully responded to the beckoning African sounds from a musical ‘king’ of the Xhosa people in South Africa, trumpet and fugelhorn wizard, Feya Faku. For those who know him, Faku is known to carry himself certainly in a kingly, but humble, way with the various peers he has played with around the world. As special artist on Siegel’s latest album, “King of Xhosa”, he has indeed knighted Siegel’s Quartet with stunning applause and African sound dimensions that are very special. Both musicians have benefited as teachers of jazz in their respective countries which might explain how the multi-faceted songs landed in this album, with lots of sharing of compositions amongst band members: Erica Lindsay presents her sonorous tenor saxophone on most tracks; pianist Francesca Tanksley keeps the pace, sometimes with a heavy bottom clef or whimsical treble runs, as in her ‘Prayer’; and bassist Rich Syracuse, also a professor, holds the backline tightly, with percussionist Fred Berryhill filling in with samba and other African rhythms.
This eclectic album, released this January 2017 by Artists Recording Collective label, starts and ends with Africanness, thanks to Faku’s praise vocals in the beginning ‘Totem’ and Berryhill’s percussion at the end song ‘Umngqungqo (Rhythm)’. In between, the album boasts a mosaic of impressions: open sonic spaces of the South African countryside with Faku’s fugelhorn brilliantly invoking spiritual calling and elephant roars, as in ‘Call to Spirits’; post-bebop tributes to struggling musicians, as in Tanksley’s ‘Life on the Rock’; unattended heros, like Faku’s teachers who gave so much towards cultural growth in others, as in the duo, ‘Courage’ and ‘Unsung’. The latter soulfully presents that familiar Faku touch strengthened by an eloquent Siegel drum solo.
But it’s the prayerful, spiritual nature of mood and message that grabs as Faku weaves his horn’s melodies through solemn chats with Lindsay’s saxophone, as in the thought-provoking ‘Prayer’, which is Siegel’s favourite song on the album.
Siegel’s drums set the pace in ‘Gotta Get To It’, an upbeat message after a lilting slow ballad. One hears Coltrane influences from saxophonist and educator Lindsay who penned this piece, which explains her love for bop. The sax and trumpet make carefree play, frolicking very nicely over the keys and rhythms. Once appropriately woken up from a musical slumber, the album intersects with fast beats dominated by Siegel’s skilled percussive direction, like in the salsa inspired “Erica’s Bag”.Faku continues to develop his spiritual soundscape by wandering mournfully through “Ballad of the Innocent”, a beautifully crafted piece by Siegel written after the Brussels bombing. It speaks to a need for reflective quietude so that humanity can realize peace and hope for a better world. One hears the pain and struggle for this through Faku’s sensitive manoeuvres as he reverently enhances the mood through conversations with the tenor saxophone. His familiar signature tone is heard also in a ballad-soothing, ‘Inner Passion’, which both Faku and Siegel agree all musicians must have to drive their musicality.
Feya Faku not only boasts a distinctly clear and relatively uncomplicated sound with clean runs and tonation on his instruments, but also continually activates his intuitive ears which enable him to collaborate with so many other greats. He cannot be ‘compared’ with others; his uniqueness, both in musical mechanics, spirit, and technique can best be measured by the honesty of delivery he gives to so many of his albums. This album shines with Faku’s integrity. And it’s Afro-fusion has rubbed off on the Jeff Siegel Quartet in very special ways