The soul of Boi Akiha duo, sextet, and all configurations in between is Monica Akihary's soulful voice and guitarist Niels Brouwer's jazz/world-inflected acoustic guitar. Boi Akih has always experimented; Lagu Lagu
(Bromo, 2005)an exquisite meeting between jazz, blues and Indonesian folkwas sung in the almost extinct Haruku language of Akihary's ancestors. With Indian percussionist Sandip Bhattcharya, Boi Akih roars and sighs like a little Shakti
. Innovation and adventure definesand inspiresBoi Akih, but an album of interpretations of the alternative pop/folk culture music of the '70ssingers Joni Mitchell
, David Crosby, Neil Young
, Bob Marley
and guitarist/singer Jimi Hendrix
is a surprise. However, like the best surprises it's an absolute delight.
Computer effects add subtle atmospherics to "Circle 5." Brouwer's circular, guitar motif has a subliminal, trance-inducing quality as Akihary's beautifully floated delivery softly seduces. Trombonist Wolter Wierbos
brings gruffly lyrical counterpoint to Akihary, and the two dovetail to great effect. Drummer Kim Weemhoff's loping beat complements Brouwer's West African groove on this striking composition, one of five originals penned by the guitarist. These five musical sketches best illustrate Boi Akih's greatest stylistic innovations, exploring strikingly different soundscapes and textures.
There's no denying, though, the beauty of the covers. "Guinnevere" is a slower take than the original, with Akihary's dreamy reverie accompanied by Wierbos' empathetic yet constantly searching trombone, a barely perceptible percussive pulse and guitar of harp-like delicacy. It's a haunting performance and the second notable interpretation of that tune in a short time, following BAAN
's mesmerizing instrumental version. Mitchell's "Cold Blue Steel and Sweet Fire" follows a similar path, though Akihary's brings a rootsy blues depth to the melody. It doesn't take a leap of imagination to hear a latter day Mitchell approaching this song from 1972 with similar intimacy.
"Circle 2" is an ambient chill-out that's as odd as it is appealing, featuring a voice reciting seemingly random numbers, like an absurdist's take on bingo. Akihary's wordless vocal and Brouwer's quietly stated electric guitar improvisationswith ghostly percussion as light as angel's hairwork a wicked charm. The vocal/guitar duet on Hendrix's "A Merman I Should Turn to Be" and the quartet's soulful intimacy on "Drifting" succeed in highlighting the poetry in the legendary guitarist's lyrics and the grace in his melodies. The same is true of the vocal/guitar duet of Young's "Old Man," a gorgeous interpretation that quietly states the chemistry fostered between Akihary and Brouwer since 1996.
Brouwer's acoustic solo, "Circle Exercise," is a minor gem built around a melody that evokes "Three Blind Mice," with the same mellifluous appealthough minus the gory imageryof that surreal 19th century English musical round. "Circle 4" is a bristling number, with each musician plotting an individual coursethough with the same destination in mindon the high-seas of improvisation. A softly padding, folk-flavored interpretation of Marley's "Redemption Song," peppered with slide guitar, puts a lyrical seal on a splendid recording, one that recognizes the beauty in all music, regardless of genre, epoch or language.
Personnel: Monica Akihary: voice; Niels Brouwer: guitars, computer, no input mixer, and world band receiver; Wolter Wierbos: trombone; Kim Weemhoff: drums.