Memphis Mandala

Crossing the river

This week I’m digging into a new release from Memphis. Memphis Mandala is a new live set recorded in Memphis, Tennessee. The album is co-led by tenor and soprano saxophone player Art Edmaiston and on this occasion alto sax, and alto and bass flute player Chad Fowler. The spiritual center of the album is Ra Kalam Bob Moses on drums and percussion. Damon Smith is on bass and Clifford Jackson is also on drums.

As a 30 year New Yorker living in Philadelphia now for 4 years, I have learned from experience now that the music has devout practitioners all over the country. New York is still the capital but it no longer looms large over the country like the eye of Sauron. Jamal R. Moore in Baltimore. Rent Romus in San Francisco (sat in with Rent and Co. and had a ball). Dave Byrant in Cambridge. Jon Iragabon in Chicago. Catherine Sikora in Santa Fe. Steve Hirsh in Minnesota. The deep Philly scene. These are high level, yes New York level, players that are not beholden to NYC. (* I know this list is much longer, please add to it in the comments! There is zero shade here, only respect). I of course have mad respect for the new NYC mayor Zohran Mamdani, sailing his rescue boat in a sea of cash.

Continuing down this path, Art Edmaiston is a tenor and soprano sax player hailing from Memphis where he met and began a spirit music relationship with Ra Kalam Bob Moses. Art was recently given a spirit name by Tisziji Muñoz: Bhakti Lam-Mu, which means devotee of the transcendent wisdom of emptiness. This carries deep meaning for him. Their spiritual and musical connection is what leads off on their new recording and is sustained throughout, in one of the most natural and unforced sets of free improvisation I have heard in some time. There is never that period of searching on this record where the musicians are trying to figure out what to do or where to go. Everyone knows who they are. With Ra Kalam opening the heart, they flow from one moment to the next in unity. They will sometimes suddenly create a new world on a dime, and they all do it together.

To me different cities and areas in America are like visiting different planets. I have not toured Europe for a minute, but sometimes the differences can be that stark to me. The way Art and Ra Kalam describe Memphis, it sounds like another one of those planets. The Mississippi River looms large on multiple levels. Art often ventures out to the river to play, something I can really vibe with as I spent thousands of hours doing this under the RFK bridge in Queens. I had a live interview and playing session out there called The Bridge Sessions. What’s next level however is that the Mississippi river can be deep and dangerous with whirlpools, but can also get so low that Art can head out into it and safely play in certain areas, and does so whenever possible. You can see across to the other side. Memphis is of course known for that Elvis connection, but tourism is down. One time when I was in the Little Huey Music Orchestra William Parker said this next one is dedicated to Elvis, the king, and I busted out laughing. Art said that in Memphis everything and nothing can both be happening at the same time. People will shoot off guns not necessarily to kill, but just because they’re in the mood. Musicians in Memphis learn versatility and play rock, blues, and wedding gigs to keep the lights on. Both Art and Ra Kalam described a block to block thing in Memphis where things can radically shift, which is very much like Philly. Ra Kalam described something different where a lot of people are driving cars that are barely rolling, but people keep driving until the car is truly beyond help or resurrection. The National Guard was recently in Memphis, and we all know what’s going on there. All this being said, Memphis is also spiritually the place where Art and Ra Kalam came together and where this music came through. The music on this album could only happen in Memphis: music from there that was needed there, and only this group could make the music we hear.

One thing I heard immediately in Art’s tenor is an open heart and vocal approach that goes directly to sound expression. At Ra Kalam’s guidance he has worked to free himself from stylistic categories and obligations. His playing is not about flat 5 substitutions, it’s about his life and he breathes that through his tenor and soprano saxophone. Art also plays without an ego agenda trying to force anything or prove anything technically. He serves the music. By his own description his playing is a holler, and he may have exuberance or pain coming through in his sound.

Ra Kalam Bob Moses is of course a living drum master, and it was a joy to talk with him. His spirit name given to him from Tisziji Muñoz means Sun Sound, the inaudible sound of the invisible sun. He prefers congas at home, and plays with his hands whenever possible. As he described it, this approach is like singing on the drums, a profound and personal practice. This sets up a very different dynamic from the kit. He often sings and plays incredibly intricate rhythmic syllables. The overall effect on the listener is that you are entering and in a sacred space. As Ra Kalam said: Heart is more important than art. We didn’t talk so much about his 18 albums as a leader and vast discography as much as playing music like this. He did speak of profound musical spirits that he knew and played with, Rahsaan Roland Kirk, Charles Brackeen, Wadada Leo Smith, and Dennis Gonzalez. Dennis was a friend of mine and I miss him. When I had my knee replaced I called him because we were both going through it. I asked him why we were suffering on this level and he said it was because we were shamans. Incredibly, on January 22nd Ra Kalam will be playing in Harlem, NY with Daniel Carter, Don Pate, Randy Brecker, and Brandon Ross! You read that correctly, NY friends go hear the Heart Breath Ensemble!

Chad Fowler is from Arkansas, and somewhat of a wild card here. Like Art and myself, he has a vocal approach on his horns. The music here is already different, but with Chad playing well-mixed alto and bass flute, and also alto saxophone, the sound of the music becomes even more personal and unique. What’s special about what Chad is playing on flutes is that he’s not trying to force them into any box, or validate them as jazz instruments. He’s playing flutes for what they really are in relation to the source of flute music: Ancient Earth sounds. The alto and bass flute take this all the way as the alto opens up realms into other realities, other places, other times, and other spaces. The bass flute can take you all the way into a sea cave. From a broader perspective, Chad’s flute music takes you far from the west to the east, and yes they’re doing that in Memphis.

Damon Smith is from St. Louis and he is very strong throughout this album. He immediately dispatches any notion of role-playing and is a vital co-creator, often leading off a new chapter or movement on the bass. He has great dexterity, elasticity, and inventiveness. I particularly resonate with his use of the low end. I don’t always hear bass players playing their bass only, bass world music, but I can feel that throughout the album. Clifford “Pee Wee” Jackson is a Memphis based drummer that really enjoyed the openness of the album. His crisp and interactive interplay with Ra Kalam was supportive and palpable. Ra Kalam likes playing with drummers who meet him at the table and mix it up. It’s musical sharing, not territorial.

Rather than do a play by play, I’ll highlight a few bright moments. On Rattling the Chains I thought I heard an ancient Egyptian Sistrum, enhancing a ritual vibe. Did they open a gateway to the Dendera temple of Hathor? On Transportation Awaits there’s a nice transition from Art to Chad. They freely share and give space throughout the album. Hear The Call contains spiritual urgency. Hearts and Flowers has a moment where Art begins on tenor coming from Chad’s flute so closely that if you don’t listen closely you might not know it’s 2 very different instruments. Wayne Shorter spoke about when instruments can sound like a different instrument as a mystical experience. The musical feeling here is devout. Last Glimpse is a new spiritual space only possible by playing Hearts and Flowers. With Ra Kalam on gongs we are transported to a timeless, ancient scene when a temple lines up with an eclipse. During the entire listening experience of this music you can never think that you know where something is headed. New worlds can appear on a dime. They instinctively shift into these different spaces and vibrations unified.

Memphis Mandala musically ends with a new beginning, but their journey remains with you to visit over and over. The music created and brought forth here may guide you not only to new places within yourself, but new realms within the cosmos as well. This music can restore and renew a weary soul.

Travel with them, and cross the river together

Thanks for reading! Subscriptions are needed and appreciated. Next week a deep dive on the great trombone king Trummy Young

Peace

ML