Barry Deister Quintet: An African Suite

It is not uncommon for jazz artists to borrow from world music to enliven their pieces—adding a dash of spice as it were. It is even rarer (with Latin jazz being an exception) for musicians to dive deeply into indigenous music forms and deliver an authentic, integrated sonic concept. Most unique are album-length projects that successfully meld genres while delivering an ear-pleasing, swinging whole.

In this most special category comes An African Suite, a remarkable album from Barry Deister, a mature composer, deft tenor sax/flutist and cohering band leader. Deister has played with Anthony Braxton and Bobby Hutcherson among others.

The suite incorporates at its rhythmic core the instruments and patterns of West African music. Each of the songs is based on archetypal songs or dances, such as Agbadza, Gahu and Kpanlogo.

The first song, "Afrodite," opens with multi-tracked percussion providing a foundation upon which tenor and trumpeter (warm-toned Paul Mazzio) play an anthemic, unison melody.

Deister says it has taken him 45 years of exploring African music to become comfortable recording this blend of indigenous sounds and jazz. He first was introduced to this style in the 1970s by saxophonist Ron Dewar, who was transcribing sound clips for his Master's thesis. Since then, Deister has visited Ghana and has performed with West African music and dance masters.

Each piece in this collection doubles as a multiple-play-worthy jazz morsel. "Sahara Breeze," for example, harmonizes flugelhorn with flute over a 6/8 ostinato then injects fresh emotion through a choicefully constructed upright bass solo by Tim Gilson. "Bad Ju Ju" has a bit of a funky "Love Supreme" hook to it.

The entire quintet is top-notch. Deister and Mazzio play off each other, dropping in modern and free jazz phrasings. Pianist Randy Porter complements the complex percussion with syncopated, closed chords and light-fingered solos. The cymbal and snare work of drummer Tim Rap blends seamlessly with the percussion. The core quintet has been performing with each other for 30 years in different incarnations, but it might surprise you that the band is based in Portland, Oregon.

As for the African-and jazz-trained guest musician, percussionist Israel Annoh, Deister states "the project would not have been possible without him." Annoh was given the latitude to interpret the African rhythms as befits the compositions, making the project even more special than just "authentic."

Deister's entire discography is well worth a listen. Its original material is heavily influenced by '60s jazz. Deister albums such as East/West Dialogue and Melbourne Memories effortlessly references styles including Thelonious Monk romps, John Coltrane quintets, stripped-down Gil Evans ballads, and the clipped, soulful tones of saxophonist Gene Ammons. The compositions consistently offer beautiful melodies supported by satisfying harmonic progressions.

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