December 12–19, 1996

critical mass|roots

Spoken Hand Society

Did you ever go to a summit of world drumming hungry for excitement and synthesis and come away hungrier still? If you have, keep watching for news of the next Spoken Hand Society event. You'll leave feeling satisfactorily filled with rhythm.

Daryl Kwasi Burgee, leader of Djembe of West Africa and the Painted Bride's music curator, and Lenny Seidman, leader of his own tabla choir, are the coordinators of this extraordinary group. Since the end of the summer, drumming ensembles from a number of traditions have gathered once a week to create the Spoken Hand Society. The plan is not only to bring the traditions together in performance, but to develop a drumming school at the Bride where all styles can be learned under one roof.

The opening piece of this past weekend's concert, "Connecting Link," was like an overture, introducing every style one by one. It started off with the stately, ceremonial drumming of the Bat, sacred to the traditional Yoruba religion, on double-headed hand drums. As the Bat ensemble eased off, Samba Nossa's battery echoed their last lines for a few bars, enough to acknowledge an African ancestral kinship. Then came an abrupt change to the familiar patterns of Carnival. Deep pitched drums maintained a steady throb while the snare in front decorated the melody.

Samba passed the baton to Pablo Batista's trio. The trio showed that drumming in Puerto Rico also draws on African roots, but has developed a distinct identity in bomba and plena. From the roar of the bomba congas, the nod went to the refinement of the Indian tabla. Three tabla players completely in synch is a riveting experience. Though they weren't as loud as some of the other ensembles, they were equally energizing.

The final group in the semicircle was Burgee's Djembe of West Africa. They burst into a joyous response to the tablas.

No sooner had the Djembe ensemble's last note rung out than the entire Spoken Hand Society joined in for an ensemble review of the rhythmic points established so far. The audience was just as quick to burst into wild applause when the playing ceased.

"Connecting Link" sounded good, until we heard the rest of the compositions, after that it seemed like a politely reserved introduction. The rest of the set featured compositions that could be played by one group alone as a showpiece for its traditions, but were often given Spoken Hand embellishments — the more unusual the combination, the better.

All of these players spent time working together, learning each other's tricks — and it shows. The sheer love of drumming was audible in every piece, nothing trotted out merely to show a mastery of difficult technique. Here's hoping the evening was recorded. It was the kind of rhythm extravaganza you can listen to every day, forever, and never get bored.

— Mary Armstrong