“It is crucial to keep this group active and thriving because it preserves a rare tradition of music-making in the Western world, a tradition passed down by our mentor, Horace Tapscott. Tapscott. Tapscott emphasized that this music is contributive and not competitive. This philosophy means that music is meant to be part of something greater than itself, a goal that competition cannot achieve.”

— Fuasi Abdul-Khaliq

Fuasi Abdul-Khaliq

P.A.P.A.

Efuru LP Liner Notes:

Pan Afrikan Peoples Arktet

In December of 2022, I was presented with a unique opportunity that would allow me to share my musical journey through the medium of an LP album project. My close friend and producer, Alex Rothe, approached me with an enticing proposal: to curate and record a collection of my cherished compositions spanning a span of 50 years. This project would not only enable me to revisit some of my earliest creations but also create new pieces that would find a home within this musical tapestry.

I embarked on the task of selecting tunes from my archive, choosing those that resonated with me the most. Over the subsequent three months, I was committed to arranging my earlier works and creating new fresh compositions that would blend with the existing body of music.

Alex's passion for collecting vinyl records from the 1960s and 70s led him to discover a treasure trove of recordings from Nimbus Records. Among these discoveries were captivating performances featuring Horace Tapscott in various musical configurations – from intimate small group sessions to soul-stirring solo acts, and even commanding the Pan Afrikan Peoples Arkestra as its conductor. In his exploration, he chanced upon the Pan Afrikan Peoples Arkestra's series of live concerts and recordings held at the ICCU church in Watts, California. It was a revelation that these monthly concerts, which spanned over eight years, were remarkable musical events and served as a testament to the Arkestra's commitment to their community. Alex, as a connoisseur of vintage music, expressed a strong desire for the album to capture the essence of the musical era I had grown up with and performed in – the vibrant and transformative 1970s. During this period, I had the privilege of being a part of the Pan Afrikan Peoples Arkestra and collaborating with the iconic Horace Tapscott.

Alex shared his aspiration to produce music in the form of LPs. He outlined his goal of producing an LP within the following five months, a timeline that was as exciting as it was challenging. With the desire to capture the spirit and essence of the Pan Afrikan Peoples Arkestra's distinctive sound, I was responsible for assembling a group of musicians that would faithfully channel the Arkestra's musical legacy.

This album project was not merely a recording venture; it was a heartfelt homage to the era, the community, and the artistry that had shaped us all. With every note and arrangement, we attempted to capture the essence of the 1970s and the indomitable spirit of the Pan Afrikan Peoples Arkestra, ensuring that our musical offerings would echo through time, reaching audiences both familiar and new.

In the midst of these discussions, I brought to his attention the existence of three other fellow Ark members who were currently residing in Europe. Recognizing the potential of a collaboration that transcended geographical boundaries, I proposed the idea of involving these distant comrades in the project. With their invaluable connection to the Arkestra's musical heritage, their participation held the promise of an authentic and resonant tribute to the iconic sounds of our shared past.

Ghasem Batamuntu, a multi-talented individual encompassing roles as a saxophonist, band leader, producer, poet, and composer, had taken up residence in The Netherlands. In Madrid, Spain, resided Nirankar Khalsa, a versatile artist skilled in drumming, percussion, singing, and composition. These distinguished veterans of the Pan Afrikan Peoples Arkestra would become integral components of our ensemble, preserving the legacy of the Arkestra while contributing their unique voices to our collective endeavor.

Beyond the boundaries of Europe, one young, talented musician from Los Angeles waspoised to join our ranks. Mekala Session, an extraordinary drummer and son of a senior Ark member, Michael Session, brought with him an intergenerational connection to the ensemble's history. Mekala had even risen to the esteemed position of the new director of the Arkestra, demonstrating his dedication to its continuation. His presence symbolized the emergence of a new era of musicians who were embracing the legacy of the Arkestra.

We envisioned a harmonious blend of the seasoned Ark veterans and the fresh talents of the new generation, all converging to breathe life into this LP project, reflecting the Arkestra's current musical ethos within the European context. I completed our ensemble with local talents from Berlin. Joel Holmes, a gifted pianist hailing from Baltimore, Maryland, joined our ranks, bringing a wealth of experience garnered from collaborations with luminaries like Roy Hargrove, Curtis Fuller, and Greg Osby, as well as a Grammy Award nomination. From Cuba, we welcomed Regis Molina Reynaldo, an exceptional player proficient in alto saxophone, bari saxophone, and flute, contributing a rich and vibrant Cuban flavor to our ensemble. Completing our ensemble was Charles Sammons, a remarkable bass player originating from the Washington D.C. area. With his profound musicality, Charles infused the ensemble with the grounding rhythm and resonance it required.

This blend of talents was carefully curated to embody the essence of the Pan Afrikan Peoples Arkestra's sound within the Berlin context. Uniting under the banner of the "Pan Afrikan Peoples Arktet," we were poised to honor the legacy of the Arkestra by offering a unique interpretation of its music and celebrating the diverse contributions of each member.

Side A:

1. Mattye Q (Mama Knows): "Mama Knows" is a tribute to my mother Mattye Q. Roberts), a composition that resonates with beauty and sentiment. Expertly brought to life by Regis Molina's interpretation, the piece is further illuminated by solos from Regis Molina and Joel Holmes.

Sat Nam: The essence of truth is encapsulated in the mantra "Sat Nam," a cornerstone of Kundalini Yoga. This track embodies the spiritual vibrations of this mantra, serving as a bridge to the chakras. Nirankar Khalsa's mastery over bongos, tablas, and darbuka lends depth to the composition, with solos gracing the work by Regis Molina and Fuasi.

Side B:

Eternal Egypt: Composed in 1975, "Eternal Egypt" was first recorded by the Pan Afrikan Peoples Arkestra in 1976. This timeless composition was resurrected to resonate anew. The solos are vibrantly brought to life by Regis Molina, Joel Holmes, Nirankar Khalsa, and Fuasi.

Little A’s Chant: "Little A's Chant" is a composition by Herbert Baker, a young pianist who was a member of the Arkestra in the early 1970’s. Baker, a prodigy player, made significant contributions to the band's repertoire with his classic tunes.

Side C:

Efuru: "Efuru" holds a special place in the history of my musical journey. Penned in the wake of the birth of my first child, Haneefa Niambi Efuru Abdel-Khaliq Roberts, in 1976, this composition draws its name from her middle name, Efuru, which translates from West African Igbo means "Daughter of the Heavens." This track serves as a tribute to the ethereal connection between myself and my daughter. The solos on this piece are masterfully performed by Mekala Session, Fuasi, and Joel Holmes.

Abacus Moon: "Abacus Moon," a newly composed piece written specifically for this recording. The dream interpretation of an Abacus is symbolic of lending help to someone in need and the moon represents the yin or female energy of enlightenment. Together they help bring one into the spirit of eternal light and divine understanding. The entrancing solos are executed with artistry by Joel Holmes and Ghasem Batamuntu.

 

Side D:

The Greatest Unknown Ever Known: A homage to the mentors and loved ones who have since departed. "The Greatest Unknown Ever Known" reflects the phrase often used by the revered Horace Tapscott to introduce the musicians of the Ark to the audience. The track pays homage to Horace, my father Earnest Roberts Sr., and my son Agyei Roberts. The distinctive solos are rendered by Regis Molina, Fuasi, and Ghasem Batamuntu.

To The Great House: A song written by Horace Tapscott referring to the communal residences that marked the early years of the Ark. "To The Great House" reflects back to a time of ceaseless music-making, learning, and growth. Ghasem Batamuntu infuses his artistry into this track, commemorating the vibrant spirit of that period.

The Musicians:

• Fuasi Abdul-Khaliq: Tenor Sax, Bass Clarinet, Flute, Bari Sax, Various Percussion

• Ghasem Batamuntu: Soprano Sax, Wooden Flutes, Didgeridoo, Various Percussion

• Regis Molina: Alto Sax, Flute, Various Percussion

• Joel Holmes: Piano

• Charles Sammons: Bass

• Nirankar Khalsa: Tablas, Darbuka, Bongos, Various Percussion

• Mekala Session: Drums

The Musicians' Reflections:

• Regis Molina Reynaldo

• “For me it has been a great experience, to share the stage with great musicians and great light beings. Through the music and the lived stories, I could have a taste of what it felt like to be in this Art community around Horace Tascoptt. I had the pleasure of meeting different generations of this community. Felt like being in the Cuban music community, but Through  Love, respect, friendship, and the jazz language“.

• Ghasem Batamuntu

• “the pristine compositional matrix of Fuasi Abdul-Khaliq echos from the depths of an infinite space like the branches of an ancient baobab bending in the night song of the ancestor’s breath, roots spread across eons of eternal cronos, embers of Egypt and Abyssinia creating a magical circle of mystic fire around which these sacred sound warriors are gathered in the illumination of inspiration and quest, tracking the footprints of the forefathers of muse to the cauldron of healing incantations, providing a much-needed alternative to the commercial forms of entertainment presently dominating the collective mind space via today's projected media...”

• Nirankar Khalsa

• “I wish to sincerely and humbly give my best thanks, embraces, and all ways of appreciation for once again, after many years, to be able to share in this special gathering\reunion of creative souls in this historic honor and continuance of the Pan Afrikan Peoplea Arkestra - `The Ark¨ and its great founder Horace Tapscott. There is much more I would love to share but no space here. My special honor and shout out goes to lifetime friend and Ark member, Fuasi Abdul Khaliq, who is our beloved director of this Project, whose Ark roots go way back, being a major creative and organizing force to the success of this legacy, from Los Angeles origins of the Ark to abroad. . . .  And I wish all blessings, in the same tone of appreciation to the special soul musicians who participated in this special gathering“.

• Joel Holmes

• „It was such a pleasure and honor to work with this wonderful group. The musical conversations on and off stage were very interesting and enlightening. A true Paradigm Shift took place. Several generations were represented here and it felt like an Ancestral call. I am very glad that we were able to capture many magic moments on this record. The music and vibes speak for themselves. True Spiritual/Ancestral Jazz from the Ether. Enjoy!!“

• Mekala

• “I had a lot of fun meeting and playing with these beautiful cats! Also Berlin in May was a gorgeous, welcoming city with great food and cool people. Until next time~“

• Charles Sammons

• “Once-in-a-lifetime experience! To share life and sounds with these legends and masters left me changed and richer. Also, the multi-generational nature of the endeavor is inspiring. This music is a living thing that I hope accompanies musicians and music lovers alike for generations to come

 

Acknowledgments:

First and foremost, I would like to extend my thanks to the Creator. Without guidance from ahigher power, there would have been no possible way we could have successfully completed this project. All praises due to the Most High.

I extend my heartfelt gratitude to Alex Rothe, the visionary catalyst behind this project. Alex's unwavering commitment to manifesting an LP steeped in the spiritual jazz legacy of the Pan Afrikan Peoples Arkestra is the foundation upon which this musical journey rests. Without his ambition and support, this dream would remain uncharted territory.

To my life partner and steadfast confidante, Barbara Hiltmann, I offer a special acknowledgment. Her unwavering encouragement served as a guiding light, urging me forward even when the path was obscured by challenges.

The gracious hospitality of John Kunkeler and his son Jakob and their generosity in providing their Jazzclub Kunstfabrik Schlot as a canvas for our musical expression is a testament to their dedication to the arts. The days of rehearsals, preparation, and the eventual recording weekend all transpired within the walls they opened to us.

To all the musicians who brought their extraordinary talents to this project, I extend mydeepest gratitude. Their presence and contributions have elevated this project to its highest pinnacle, creating a musical legacy that will continue to inspire and move listeners for generations to come.

Finally, gratitude emanates to every individual not mentioned here who contributed their time, energy, and expertise to carve a place for this LP in the annals of music history. Each strand of support, whether overt or behind the scenes, has woven this into a masterpiece.

 

Produced by

Alex Rothe

 

Live Recording by

Volker Greve Studios

 

Recorded on May 19 and May 20, 2023

Recorded at Jazzclub Kunstfabrik Schlot, Berlin, Germany

 

Mixed and Analogue Mastering by

Volker Greve

 

• All songs on the album, except for "Little A’s Chant" and "The Great House," were both written and arranged by Fuasi Abdul-Khaliq.

• "Little A’s Chant" was written by Herbert Baker.

• "The Great House" was written by Horace Tapscott.

• All songs composed by Fuasi Abdul-Khaliq are published by Lifelight Publishing.

Photographs by Mireille Moga.

Artwork by Alex Rothe

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