Si La Sol

Give the summer some.

MaseQua Myers & Jami Ayinde | Black Land of the Nile
Brenda Russell | It’s Something
Aretha Franklin | It Only Happens (When I Look at You)
The Voices of East Harlem | Can You Feel It
Billy Paul | Am I Black Enough for You?
Minnie Riperton | Wouldn’t Matter Where You Are
Tower of Power | Can’t You See (You Doin’ Me Wrong)
The Love Unlimited Orchestra | Satin Soul
Trouble Funk | Trouble Funk Express
Michael Jackson ‧ Tangoterje | Can’t Help It
Flying Lotus | Do the Astral Plane
Shaun Escoffery | Days Like This (Spinna & Ticklah Mix)
Airto | Toque de Cuica
Level 42 | Last Chance
George Duke | Brazilian Love Affair
James Mason | Free
Sergio Mendes & Brasil ’77 | Zanzibar
Roy Ayers | Our Time Is Coming
Andy Bey | Tune Up

Mixed by El Mahboob, August 2012

Si La Sol
If the sun ‧ is the only

As with my previous mixtape Re‧mi Do, solfège syllables are used in the title (for the notes or keys B, A, G), and I employ harmonic mixing (key or chord matching). EDIT: There is an improvised key plan that does include root movement in fifths, enharmonically, or by tritone; more or less accidental to the process of organizing around what are essentially pitch sets of common tones.

I want to acknowledge some friends, DJs, creators, etc. who have informed and inspired my listening:

General Eclectic
Petri Glad
Kevin Laverty
Stuart Li
Paul E. Lopes
Jason Palma
Koray Özel
Anousheh Showleh
Son of S.O.U.L.
Daniel Viljoen
Victor Undergroundvibe

All recordings are the intellectual property of the artists.

Composers Memoir

Li’l Minimalist

(written in March 2010)

One sunny late winter evening, I pick up Queen Peace after work. Nattily attired and chipper, she skips just ahead and then whirls around to ask, “Do you want to see my favourite dance?”

Of course, I answer. Her skip turns into a side to side stride, her arms swinging wide, as she sings an amalgam of various nursery rhymes, laughing herself off balance and half-crashing into some bushes. Then, she stands up straight and walks by my side. Quietly thoughtful for a moment, she looks up and says, “Daddy, I’m actually very interested in Steve Reich.”

This is a three year-old, who, every few days when I see her, seems to have advanced to a complete new level of understanding and expression of her world. And level of memory – it was a while ago I told her I had tickets to the Cool Drummings concert in Toronto, featuring the composer and his music.

“Can I go to the concert with you?”

It will be past your bedtime honey, and it might be a little loud for you. But we can listen to a Steve Reich concert when we get home if you like.

Later, I put on the Reich at the Roxy album.

“It’s skipping.”

“It sounds like soldiers.” Break in music from pulsing rhythm to pillars of sounds and shift of tempo; return to steady rhythm. We count together, dividing the bar by three, then four. This loses most adults. The bass drum and bass end of the piano pound out accents. “More soldiers,” she says. “Marching. March! March!” I begin to worry she’ll confuse this Reich with a more infamous one when her schooling begins.

I leave the room briefly. A fast movement begins. “Daddy, daddy, she calls out, “It’s playing very fast now! I call him Steve Rush!”

Voices. “Oh, I like opera.” Steve Reich doesn’t. “Does he like goblins and faeries in his opera?”

The music stops on a dime. “It’s over, I think.” [Applause.] “The concert ended. Daddy, it was good. I like Steve Reich.”