Home » Jazz Articles » Album Review » Leni Stern: 3

Leni Stern: 3

By Jim Worsley
July 21, 2018
View read count

For her critically acclaimed Dakar Suite (Leni Stern Recordings, 2016),

Leni Stern

guitar, electric

" data-original-title="" title="">Leni Stern presented her African enhanced sounds with lavish 10-piece orchestrations and arrangements complete with horns and violins. For this 2018 release, Stern's compositions were written specifically for a 3 piece, as opposed to adapting a 10 piece composition. Hence the title.

The "Khavare" (party) gets started with the sabar (a Sengalese drum) cadence of percussionist

Alioune Faye

percussion

" data-original-title="" title="">Alioune Faye. This lively tune is broadened by bassist

Mamadou Ba

bass

" data-original-title="" title="">Mamadou Ba and buoyed by Stern's precise and melodic guitar. The song "Barambai" is based on the chanting and rhythms of the baby naming ceremony in Africa. Joined by accordionist

Gil Goldstein

piano

" data-original-title="" title="">Gil Goldstein, "Barambai" is steeped in character and authenticity.

Stern saves her soothingly beautiful singing voice for the romantic yearnings of "Wakhma." The lines "Tell me, was I the only one to feel this way? Tell me, do you miss me at all? Tell me, are you happy now?" are only a microcosm of the feelings exuded here. Moreover, Stern delivers with such a personal touch you may feel as if she is speaking just to you. She also deftly plays the n'goni (a West African stringed instrument) on this enchanting tune. The symmetry in line and phrasing is exquisite. The song "Calabas" (an African percussion instrument) securely wraps Stern's voice and instrumentation in a percussive foundation. Its incremental build takes us to a surging guitar solo by guest artist

Mike Stern

guitar
b.1953

" data-original-title="" title="">Mike Stern (Leni's husband).

A most bewitching piece is "Spell." Spirits, voodoo, jazz, and African rhythms collide in the night at the crossroads. In this vernacular the crossroads are the place you meet at night to ask the tough questions and reach out to the spirit world. The

Robert Johnson

vocals
1911 - 1938

" data-original-title="" title="">Robert Johnson-penned tune "Crossroads," more famously known as recorded by

Cream

band / ensemble / orchestra

" data-original-title="" title="">Cream in 1968, makes reference to these very same crossroads. Singing in both English and African, Stern again plays the n'goni, in this both mesmerizing and beguiling composition.

"Assiko" epitomizes the true fusion of traditional jazz with the sounds of Africa. Stern stretches out beautifully on guitar with some tasty licks. Flanked by Ba's pulsating yet understated bass lines, and driven by Faye's masterful and unrelenting percussion. Instrumentally they play as one, showcasing the fact that Stern, Faye, and Ba have played together for a number of years.

The record finishes as upbeat as it starts. An African legend has it that you can hypnotize and more easily drive away crocodiles from unwanted places with the sound of the drums and chants. "Crocodile" incorporates the chant and beats with Stern's soaring yet tranquil guitar.

Over the past several years Stern has successfully paid homage to our musical ancestors while integrating the complexities of African music with the sensibilities of jazz. 3 is a powerful embodiment and exploration of African roots that takes it to another level and creates a sound, style, and statement that is uniquely her own.

Learn more about our star rating system

Track Listing

Khavare; Barambai; Wakhma; Calabas; Spell; Colombiano; Assiko; Crocodile.

Personnel

Leni Stern

guitar, electric

Mamadou Ba

bass

Alioune Faye

percussion

Album information

Title: 3 | Year Released: 2018 | Record Label: Leni Stern Recordings

PREVIOUS / NEXT

Turbamulta
< Previous

Gov��t Mule, The Avett Brothers and...
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.