Now entering our second decade, Burnt Sugar The Arkestra Chamber continues an obsessive drive to bring Frankenstein back to musical hybridity–brutally grafting and re-charging funkystanknasty older tribal forms with present-day post-soul energies while leaving all manner of wires, lesions, sutures, scars and microsurgical filigree loose, open and lubricious in the bloody bargain.
- The Cold Sweat Variations — Feat. Myles Reilly, Flip Barnes , Qasim Naqvi
- Libertango (I’ve Seen That Face Before) — Feat. Lisala Beatty , Maya Azucena
- The Guru’s Lover / Claudine — Feat. Lisa Teasley
- Claudine — Feat. Swiss Chris, Flip Barnes, Harald Keisedu
- Burning Crosses — Feat. Abby Dobson , Rene Akan
- Bliques Haff Mo Funn — Feat. Avram Fefer, Micah Gaugh, Vijay Iyer
- Whut Rough Beast — Feat. Michael Veal, Jared Nickerson , Dave Smoota Smith
- Bliques Strategems — Feat. Vijay Iyer , Jason Di Matteo
- Throne Of Blood 33 1/3:( Encrypted Vernacular) — Feat Andre Lassalle , Mikel Banks
- Blood Music
All music composed by Burnt Sugar Arkestra & Greg Tate.
Except for “Libertango” composed by Astor Piazzola, Lyrics By Nathaly Delon, Barry Reynolds, David Wilkey
& “Cold Sweat” composed by Pee Wee Ellis
“Burning Crosses” Lyrics By Tate
“Libertango” : Poem recitation By Maya Azucena
“The Guru’s Lover” : Poem recitation by Lisa Teasley
Recorded At Peter Karl Studios, Brooklyn NY. 2008–2011
Personnel: Abby Dobson, Andre Lassalle, Ben Tyree, Bruce Mack, Dave Smith, Greg Tate, Harald Kisiedu, Jared Nickerson, Jason Di Matteo, Lewis Flip Barnes Avram Fefer, Lisala Beatty, Maya Azucena, Mazz Swift, Meret Koehler, Micah Gaugh, Michael Veal, Mikel Banks, Moist Paula Henderson, Rene Akan, Swiss Chris, Thom Loubet, Trevor Holder, Vijay Iyer
That said, the disc begins with two intrigu- ing makeovers: an Afro-Cuban take on James Brown’s “Cold Sweat” and a noir-ish romp through Astor Piazzolla’s “I’ve Seen That Face Before (Libertango).” In both instanc- es, Burnt Sugar tucks in its penchant for sonic aggression and allows the songs to reign. In turn, Mazz Swift’s haunting violin and Maya Azucena’s dramatic singing on the latter shine.
From there, things get hazier as Azucena and vocalists Abby Dobson and Lisala Beatty swap lead on the frontline, alternating between phan- tasmagorical singing to spoken-word erotica. The rotating cast of drummers and bassists gives the music an insistent, slow-roiling sensation, espe- cially on “Claudine,” which becomes an ideal vehicle for tenor saxophonist Harald Kisiedu. Vijay Iyer showcases his rhythmic flair on the afrobeat-inspired “Bliques Haff Moor Funn” and the avant-reggae dub “Blique Stategems.””
by John Murph