Otherwhere

British responses to Black diasporic music, and other sounds from formative walks in SSM and Toronto, via a recollection of refrains, harmonic worlds visited and the journeys between

Omar | You’ve Got to Move
Working Week | Inner City Blues
The Brand New Heavies | Dream On Dreamer
Colourbox | Philip Glass
Young Disciples | Get Yourself Together
Massive Attack | Daydreaming
Level 42 | Coup d’etat
Soul II Soul | Fairplay
Mica Paris | Contribution ft. Rakim
Ronny Jordan | See the New ft. IG Culture
Jamiroquai | Blow Your Mind
Matt Bianco | Half a Minute
Prefab Sprout | Enchanted
Sade | Hang on to Your Love
Incognito | Don’t You Worry ‘Bout a Thing
Caron Wheeler | Kama Yo
Swing Out Sister | Twilight World
Loose Ends | Hangin’ on a String (Contemplating)

Otherwhere: UK 84-94

Ibrahim El Mahboob
March 2018

Glass Reich 80 12 18

Audio counterpoint in recognition of two 80th birthday years.

How would the photograph below sound, if the composers were substituted with their music?

Glass Reich 80 12 18

Steve Reich and Musicians: Music for 18 Musicians (1974-1976), Sections VIII, II, IIIA, IIIB, X

simultaneously with

The Philip Glass Ensemble: Music in Twelve Parts (1971-1974), Part 1

All of the music heard here is in the key of F-sharp natural minor. By placing them in a chance situation, I’ve introduced an irrational element to two compositions which are each rigorously ordered, and yet the eddying combination of their shared pitches has an eerie, reinforcing, unifying effect. While Twelve is set at a slightly lower output level than 18 relative to the original Nonesuch recordings, there is no other mixing. All tracks are complete, at original pitch and otherwise unaltered.

I do not own the copyright of the works presented here. I am claiming fair use.

Photo credit: The Wall Street Journal

Boogie Dedication

The Salsoul Orchestra ft. Loleatta Holloway | Seconds

Linda Williams | City Living

Stephanie Mills | You Can’t Run from My Love

Esther Williams | I’ll Be Your Pleasure

Odyssey | Inside Out

Pleasure | Nothin’ to It

Unlimited Touch | I Hear Music in the Streets

Kool & the Gang | Steppin’ Out

Prince | I Wanna Be Your Lover

Eighties Ladies | I Knew That Love

Logg | Dancing into the Stars

Change ft. Luther Vandross | The Glow of Love

Stevie Wonder | As if You Read My Mind

B O O G I E D E D I C A T I O N

79-82

To Nina with Love

beatmixing and harmonic mixing has been employed
without altering the tempo or pitch of the original tracks

Ibrahim El Mahboob
July 2015

All These Things

Taiguara ft. Hermeto Pascoal & Wagner Tiso “Samba das Cinco”
F major, final chord: D-flat major

Bebel Gilberto “Samba da Benção” (backing track: Amon Tobin “Nova”)
D-flat major

Esperanza Spalding “Ponte de Areia”
D-flat major

Aline Morales “Como Pólen”
F-sharp minor

Airto Moreira “The Happy People”
F major, transition on G minor

Banda Black Rio “Mr. Funky Samba”
G minor

Djavan “Nereci” ft. Marianzinha
A minor, transition on E open fifth

Carlos Dafé “De Alegria Raiou O Dia”
E minor

Antonio Adolfo & A Brazuca “Transamazônica” (excerpt)
E minor, transition on G minor/C

Gilberto Gil “Maracatu Atomico”
G minor

Robson Jorge & Lincoln Olivetti “Aleluia”
G major in key of C, transition on F minor riff

Flora Purim “From the Lonely Afternoon”
F minor

Tim Maia “O Caminho Do Bem”
D minor

Paulinho da Costa “Déjà vu” ft. Philip Bailey
D minor, D-sharp minor

Sergio Mendes & The New Brasil ’77 “The Real Thing”
D-sharp minor

Burnier & Cartier “Mirandolina”
F minor, A-flat major

Jazzanova “Gafiera” ft. Pedro Martins & Azymuth
F minor

Elis Regina “Tereza Sabe Sambar”
B minor

Arthur Verocai “Na Boca Do Sol”
B minor

Toninho Horta w/Orquestra Fantasma “Aquelas Coisas Todas (Sanguessuga)”
B minor, E major/minor

A L L T H E S E T H I N G S

At the invitation of São Paulo-based DJ Petri Glad on the occasion of World Cup 2014, here are a few well-loved songs composed and/or performed by Brazilians (and one Brazilian Canadian).

Also on request, I’ve provided simplified key information for each song to better illustrate where harmonic mixing (key matching or transitioning) has sometimes been employed.

I B R Λ H I M ΞL M Λ H B O O B
July 2014

Spring Affair

Peter Brown | Without Love
Deniece Williams | How’d I Know That Love Would Slip Away
Táta Vega | Mr. Troublemaker
Greg Phillinganes | Lazy Nina
Ronnie Laws | All for You
Patrice Rushen | Music of the Earth
Michael Wycoff | Looking Up to You
Herbie Hancock | Stars in Your Eyes (Special Disco Remix)
Pleasure | I’m Mad
Donald Byrd | Love Has Come Around
Evelyn “Champagne” King | What Are You Waiting For
Loleatta Holloway | Love Sensation
Logg | Something Else
Donna Summer | Spring Affair
Gene Harris | Losalamitoslatinfunklovesong

Spring Affair

1974-1985

Analog keys, horns, vibes, strings, human drummers and sangin’

Classics with a tempo flow and a little harmonic mixing (no pitch shifting)

Dedicated with love, love, love to Nehal El-Hadi (aka Nina), writer, poet,
researcher, producer, my wife and mother/stepmother of our children

Thank you also to Nehal for the title graphic on the cover photo

I B R Λ H I M ΞL M Λ H B O O B
April 2014

Golden Beats

Bilal | Back to Love
Quadron | LFT
Toto ft. Cheryl Lynn | Georgy Porgy
Gino Vannelli | Fly into this Night
Manzel | Midnight Theme (Dopebrother 12 Inch Remix)
The Emotions | There’ll Never Be Another Moment
Earth, Wind & Fire | Beijo (Interlude) ‧ Brazilian Rhyme
D.J. Rogers | Love Will Make It Better
Pockets | Come Go with Me
Donny Hathaway | Come Little Children
Gregory Porter | 1960 What? (Opolopo Kick & Bass Rerub)
Thundercat | Oh Sheit It’s X
Wally Badarou | He Was a Rasta in London Town
Rufus ft. Chaka Khan | At Midnight (My Love Will Lift You Up)
George Duke | Psychosomatic Dung
Sparkle | Let Yourself Go
The Staples | Love Me, Love Me, Love Me
Doug Carn ft. Jean Carne | Naima
Laura Mvula | Diamonds

Mixed by El Mahboob
Southward Equinox 2013

Golden Beats

Special focus on Kalimba Productions
(The Emotions, Earth, Wind & Fire, D.J. Rogers and Pockets)

RIP George Duke

Steve Reich Keys, a Mixtape, Vol. 2

Steve Reich has often described the role of keys and chord cycles in his compositions. This retrospective treats Reich’s oeuvre as a meta-cycle of chords, using harmonic mixing to match tracks whose endpoints share a common key or subset of pitches.

Vol. 2 focuses on Reich’s earlier, longer pieces, and includes most of his major works not appearing in Vol. 1, with several being reprised. Vols. 1 and 2 are linked harmonically by the dyad F#-B, heard at the end of Proverb and the beginning of the second movement of Electric Counterpoint. Also, the dyad E-A at the end of Four Organs is found in the first chord of the third movement of Mallet Quartet. Thus, both volumes may be heard back-to-back as a 5 1/2 hour cycle.

Vol. 2 features several dominant-tonic transitions, a natural result given that Reich’s pieces often end on the dominant chord.

No alteration of the pitch of the original tracks was made.

Tracklist & Artists
(keys and/or harmonies at endpoints)

0:00:00-0:03:01
Electric Counterpoint, II. Slow (1987)
Pat Metheny
(F#-B dyad, A Lydian or B11/A in C# minor)

0:02:55-0:09:02
The Four Sections, IV. Full orchestra (♩ = 180) (1987)
The London Symphony Orchestra, Michael Tilson Thomas
(A Lydian or B11/A in C# minor; C# dominant, C#-F# dyad in F# major)

0:09:02-0:18:48
Drumming, Part IV (1970-71)
Ictus, Synergy Vocals
(C#-F# dyad in G# Dorian or C# dominant)

0:18:45-0:21:13
Sextet, III. (1984)
Steve Reich and Musicians with members of Nexus and the Manhattan Marimba Quartet
(C# altered dominant)

0:21:10-0:30:31
Three Tales: Dolly, VI. Robots/Cyborgs/Immortality (1998-2002)
The Steve Reich Ensemble, Synergy Vocals, Bradley Lubman
(C# altered dominant; Gsus7 in C minor)

0:30:07-0:36:42
Three Movements, I. ♩ = c. 176-184 (1986)
Chorus sine nomine, Tonkünstler-Orchester, Kristjan Järvi
(E altered dominant, includes Gsus7; Csus7 in A-flat)

0:36:38-0:52:04
Music for a Large Ensemble (1978)
Steve Reich and Musicians
(F minor; A-flat major)

0:52:02-1:07:13
Music for Mallet Instruments, Voices and Organ (1973)
Alarm Will Sound
(F minor; A-flat dominant in D-flat)

1:07:12-1:24:32
Eight Lines (Octet) (1979/1983)
Bang on a Can/Bradley Lubman
(C# Dorian; A-flat dominant in D-flat)

1:24:32-1:40:54
Six Marimbas Counterpoint (1973/1986)
Kuniko Kato
(D-flat; B-flat Aeolian)

1:40:54-1:46:56
Dance Patterns (2002)
James Preiss, Thad Wheeler, Frank Cassara, Garry Kvistad, Edmund Niemann, Nurit Tilles
(B-flat dominant; C minor)

1:46:53-1:58:20
Cello Counterpoint (2003)
Maya Beiser
(G Phrygian dominant, C minor)

1:58:21-2:19:55
Variations for Winds, Strings and Keyboards (1979)
San Francisco Symphony, Edo de Waart
(C minor, C Dorian)

2:19:55-2:24:35
The Cave, Act 3: New York City/Austin (April-May 1992), III. Who Is Hagar? (1990-93)
The Steve Reich Ensemble, Paul Hillier
(F dominant in G minor; D minor)

2:24:35-2:31:03
Tehillim, Part IV (1981)
Steve Reich and Musicians, George Manahan
(C dominant in D minor, A dominant in D)

2:30:42-2:38:28
It’s Gonna Rain, Part I (1965)
Steve Reich
(D major)

2:38:15-2:58:40
Piano Phase (1967)
Double Edge
(B minor; Esus7)

2:58:37-3:14:23
Four Organs (1970)
Bang on a Can
(E dominant; E-A dyad)

Compiled and mixed April 2013

Creative Consultant: Ashil Mistry

As it is intended for the study and analysis of the music of Steve Reich, this post falls under fair use. The copyrights for these recordings are owned by record companies Chandos, Cyprès, Denon, ECM, Linn, Nonesuch, Sweetspot and UMG. The copyrights for the music are owned by Boosey & Hawkes and Universal Edition. Please contact me directly regarding any copyright claim.

If you enjoy this music, please purchase the original recordings.