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Water Prayers for Bass Clarinet

by Paul Austerlitz

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    For more information go to http://www.paulausterlitz.org. You can download the booklet with any purchase or download it here

    https://tinyurl.com/waterprayersbooklet
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      $9.99 USD  or more

     

1.
“Legba is at the gate; he holds the ceremonial flag to protect us from the hot sun!” 
2.
3.
4.
Padre 06:51
5.
Oriki 06:53
6.
En-Art 04:49
7.
8.
“Prayer to the Primal Wind” Lapriyè Djò, or “Prayer for the Primal Wind” is part of a large corpus of prayers called Lapriyè Ginen, intoned to begin Vodou ceremonies. I learned them from my late godfather, Houngan (priest) Max Beauvoir, and my godmother, Manbo (priestess) Nicole Miller. Lapriyè means prayer, and Ginen stands for a mythic Africa, the place where Vodou adherents will return after death. As Papa Max told me, Ginen is a “garden of the ancestors.” He added: These prayers invoke the spirits of Ginen where they originated, in every corner of the mother continent. They help us organize thoughts, help establish priorities, and solve life's problems. Djò is the primal wind in which the earth flows, like gravity. It provides equilibrium, equilibrium between spirits, psyche, thoughts, and our bodies.  In Beauvoir’s words, this prayer “allows all those who participate to give their spirits and hearts to Universal Harmony.” Moreover, it represents “a tribute of the immaterial patrimony of Haitian oral literature.” Haitian religious songs and prayers present great wisdom; they constitute a kind of “Bible” of spiritual teachings. These prayers are intoned in a half-spoken, half-sung manner. With Papa Max’s permission (and vociferous encouragement), I arranged them in a jazz style. Haitian and West African religious songs employ rich metaphors and multiple meanings to such a great extent that rendering them in foreign languages is difficult, and sometimes, impossible. Complicating matters further is the fact that these prayers employ langaj, forms of Haitian Creole that are largely untranslatable due to their use of African words that are no longer in use, or because their magical meanings are only known to select individuals. Despite these constraints, Papa Max and Manman Nicole passed on many of Lapriyè Djò’s meanings, which I now share with their blessings. Like all spiritual “texts,” Haitian prayers are subject to rich hermeneutics, to varied interpretations. My translation is based on the teachings of Beauvoir and Miller. The musical arrangement excerpts six sections of Lapriyè Djò. Some are sung by Rozna Zila, and others, I play on the contrabass clarinet. This discussion treats all the prayers in the arrangement, whether sung or presented instrumentally. Lapriyè Djò “Anonse, Ozany nan dlo o” Anonse, Ozany nan dlo o Oba Kosou miwa, Lawe, Lawe. Nan la vil o Kan e Kriyòl mande chanjan. We summon the angelic spirits of water, And the mirror King of Africa; lawe! In the mystical town of Okan, Creole people demand justice. First, we call upon angelic water spirits. We also salute the old monarchs of Africa; Oba is the Yorùbá word for king. Finally, we honor the common folk who rise up to demand justice, as when they initiated the Haitian Revolution. “Nou tout se Zany o” Nou tout se Zany o, anba a se nou. Nou tout se Zany o, anba a se nou. Danbala Wèdo, Ayida Wèdo Nou tout se Zany o Zany amba se mwen. We are angels, right here, on Earth! We are angels, right here, on Earth! Dambala Wèdo, Aida Wèdo, We are angels, I am an angel, on Earth! The angelic spirits are right here, among us! We also salute Danbala Wedo and his wife Aida Wedo, the intertwined serpent and rainbow deities who were the first to be created in the world. As an “egg of creation,” they gave birth to an ideal of stability that will exist even after humanity goes extinct. “Atala, Atala n a pral rele Lwa yo” Atala, Atala n a pral rele Lwa yo, ago e! Atala, Atala n a pral rele Lwo yo, ago e! Atala m deja gen ason an deja samalogè. Atala m deja gen ason an deja samalogè. Atala e, mwen di e Bonswa, bonswa, Lwa m yo. Atala, we are going to summon the spirits! Atala, we are going to summon the spirits! Atala, I already have the ason, samalogè. Atala, I already have the ason, samalogè. Atala, I say Good evening, good evening, to all my spirits! We summon Atala (the Yorùbá spirit Obatala), a high spirit of West Africa who worked with the Almighty to create the world. The individual who is praying here has attained wisdom, having been granted the ason, the sacred rattle bestowed upon Vodou priests. “Nou la, nou la, Ogou” Nou la, nou la, Ogou o, Mwen di e lolo Ile nou la domsan o. Nou la, nou la, Ogou o, Mwen di e lolo Ile nou la domsan o. Nou la, nou la, Ogoun (sic.) o, Nou la, nou la, Ogou o, Mwen di e lolo Ile nou la domsan o. We are fine, we are fine, Ogou. I say e lolo Ile nou la domsan o! We are fine, we are fine, Ogou. I say e lolo Ile nou la domsan o! We are fine, we are fine, Ogou. We are fine, Ogou. I say e lolo Ile nou la domsan o! Ogou is a spirit of ferocious power. We need strength to complete our tasks, and we want the spirits to come to our aid so that we can do the necessary work to better our lives. “Pito pito sè mwa Ogou o” Pito pito sè mwa Ogou o. Pito pito, Nèg nago, sè mwa a Lemen e Me rele Mèt Ogou o. Me rele Mèt feray o M pa vle Lwa yo touye mwen. Pito, Pito sè mwa Ogou o. Pito, Yorùbá man, sè mwa Ogou o. I am calling Master Ogou, I am calling Master Feray, I don’t want the lwas to punish me. Pito is an archaic name for the Nile river, which was the original home of Ogou Feray, the lwa not only of war, but of courage and of strength. The epithet Feray refers to Ogou’s association with iron. “Houn lwa Wangòl; Adje!” Houn lwa Wangòl; Adje! Danbala Laflangbo, kote ou ye? Houn lwa Wangòl; Adje! Danbala Laflangbo, kote ou ye? Gran mesi Bonje, gran mesi Lavyèj, Adje! Dèyè do nan Ginen an Se pou lang yo. Oh, Angolan spirit! Danbala, and the Congolese spirits, where are you? Oh, Angolan spirit! Danbala, and the Congolese spirits, where are you? Great thanks to God Almighty! Oh, great thanks to the Virgin Mary! Behind, in Guinen, Is where you find the spirits. Calling spirits from Angola, Central Africa, and West Africa, this prayer shows that all parts of Africa work together. It also invokes God Almighty and the Virgin Mary. All these entities join forces: we gather strength through unity.
9.
10.
Rara Remix 03:09
11.
12.
Lapriyè Djò “Anonse, Ozany nan dlo o” Anonse, Ozany nan dlo o Oba Kosou miwa, Lawe, Lawe. Nan la vil o Kan e Kriyòl mande chanjan. We summon the angelic spirits of water, And the mirror King of Africa; lawe! In the mystical town of Okan, Creole people demand justice. First, we call upon angelic water spirits. We also salute the old monarchs of Africa; Oba is the Yorùbá word for king. Finally, we honor the common folk who rise up to demand justice, as when they initiated the Haitian Revolution.

about

Magic Triplets

This album is part of a trilogy called Marasa Twa: Vodou-Jazz-Merengue. In the spiritual traditions of Haiti and the Dominican Republic, the Marasa Twa are magical triplets who manifest divine mysteries. The three offerings, Water Prayers, The Vodou Horn, and Dr. Merengue, present jazz fused with music I have studied as an ethnomusicologist.

I am privileged to have spent my life studying world music cultures.  At the same time, I have plunged the depths as a musician and as a seeker of life’s meanings.   Wedding my artistic and spiritual paths with scholarly research, these albums are the fruit of my sojourn as a musician-scholar. They focus on my principal instrument, the bass clarinet, and on the music and spirituality of Haiti and the Dominican Republic. The trilogy calls upon wisdom generously bestowed upon me by my friends and musical collaborators. I am deeply indebted to, and feel great love for, all those who so warmly welcomed me into their rich worlds of African-based creativity. Considering that these traditions developed as responses to the vicissitudes slavery, colonialism, and neo-colonialism, my involvement in them necessitates prodigious soul-searching. What is my contribution, as a white man, to these music cultures? Unlike conventional research aiming for unbiased reportage, and unlike “world music” projects focused solely on personal expression, my involvement with African-based cultures is motivated by mystical needs, creative needs, and activism. My hope is that these musical offerings will contribute, in some small way, to propagating the transcendent vision that has long fueled the ongoing struggle for social justice from which these traditions emerged.

Dr. Paul Austerlitz is Coordinator of Jazz and Professor of Music and Africana Studies at the Sunderman Conservatory of Music, Gettysburg College. He combines his creative work as a musician with ethnomusicological research on Afro-Caribbean music.  Austerlitz is especially active in blending the music of the Dominican Republic and Haiti with jazz, and in initiatives using music in the struggle for social justice.  As an instrumentalist, Austerlitz has dedicated himself to mastering the bass and contrabass clarinets. He also plays Bb (soprano) clarinet, tenor saxophone, and flute.   He has performed with musicians such as Ed Blackwell, Doc Cheatham, David Murray, Don Byron, Jimmy Knepper, and Julius Hemphill.  Dr. Austerlitz has completed composing residencies at the Yaddo and Omi artist colonies, received grants from the Macoll Johnston Foundation and the American Composers' Forum (among others), and worked with the U.S. Department of State and grassroots community organizations in projects using multi-cultural music to foster social change in the Dominican Republic.   Dr. Austerlitz is the author of Jazz Consciousness: Music, Race, and Humanity (2006, Wesleyan University Press), and Merengue: Dominican Music and Dominican Identity (1997, Temple University Press). Jazz Consciousness was awarded the Merriam Award for Outstanding Book in Ethnomusicology by the Society for Ethnomusicology and an Honorable Mention for the Woody Guthrie Award by the International Society for the Study of Popular Music.

credits

released November 30, 2018

Musicians
Paul Austerlitz: bass clarinet, contrabass clarinet, and tenor saxophone
Benito González: piano
Santi DeBriano: bass
Royal Hartigan: drum set
Isaiah Richardson: clarinet
Rozna Zila: vocals

Recorded and mixed by Randy Crafton in Kaleidoscope Studios, Union City, N.J., Mastered by G and J Audio. Photo Credits: Giovanni Savino and Paul Austerlitz. This album is dedicated to Susan Russell.

“Rara Indivisible,” “Oriki,” “Prayer for the Primal Wind,” “Rara Remix,” “Boot the Boot,” and “Lapriyè Djò” were composed and arranged with support from the American Composers Forum, Philadelphia Chapter. Thanks also to generous support from Gettysburg College.

www.paulausterlitz.org
kaleidoscopesound.com
www.gandjaudio.com
To download the booklet
tinyurl.com/waterprayersbooklet

1) “Legba nan baye-a” (4:03) (Traditional Haitian, arranged by Austerlitz, Roope Music BMI)

2) “Rara Indivisible” (4:22) (Austerlitz, Roope Music BMI)

3) “Finnish Waltz” (5:26) (Traditional Finnish, arranged by Austerlitz, Roope Music BMI)

4) “Padre” (6:50) (Austerlitz, Roope Music BMI)

5) “Oriki” (6:53) (Austerlitz, Roope Music BMI)

6) “En-Art” (4:50) (Austerlitz, Roope Music BMI)

7) “Bara Su Wa Yo” (3:40) (Traditional Afro-Cuban, arranged by Austerlitz, Roope Music BMI)

8) “Prayer for the Primal Wind” (5:25) (Traditional Haitian, arranged by Austerlitz, Roope Music BMI)

9) “Funkay-Be-Sea” (4:07) (Austerlitz, Roope Music BMI)

10) “Rara Remix” (3:10) (Austerlitz, Roope Music BMI)

11) “Boot the Boot” (2:40) (Austerlitz, Roope Music BMI)

12) “Lapriyè Djò” (9:41) (Traditional Haitian, arranged by Austerlitz, Roope Music BMI)

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Paul Austerlitz Philadelphia, Pennsylvania

Dr. Paul Austerlitz is Coordinator of Jazz and Professor of Music and Africana Studies at the Sunderman Conservatory of Music, Gettysburg College. He combines his creative work as a musician with ethnomusicological research on Afro-Caribbean music. Austerlitz is especially active in blending the music of the Dominican Republic and Haiti with jazz. ... more

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