Led by vocalist-percussionist Miriam Diakite and built upon a decade-long collaboration with guitarist Erich Huffaker, the Oakland-based ensemble Orchestra Gold pull off an impressive feat, combining Malian roots gusto with ripples of African psych-rock. In the process their latest record connects as both traditional and the modern. A self-released affair co-produced by Huffaker and Orchestra Gold bassist Luke Bace with mixing by the estimable Chico Mann, Medicine is out on CD and digital January 20, with the vinyl scheduled to ship February 1.
Along with Diakite, Huffaker, and Bace, Orchestra Gold are rounded out by Leila Elizabeth on percussion, Chris Hoog on baritone sax, Luis Andrade on tenor sax, and Aaron Kierbel on drums. Yes, that makes them a septet rather than an orchestra, though obviously the name is meant to reflect the full-bodied nature of Orchestra Gold’s sound.
Rife with sinewy, serrated horns lines and an incessant rhythmic thrust, opener “Keleya Keleko” sets the template as Diakite’s vocals glide atop and Huffaker supplies the acid-tinged guitar. The string burn is even more prominent as “Koniya” unwinds, the track working up an even deeper groove as Diakite’s singing, while forceful, adds to the psychedelic aura with a multi-tracked swirl.
“Baara Nyuma” broadens the program a bit, the track built upon a sturdy but not overstated reggae-infused foundation (particularly the dubby bass lines), as the sax soloing is robust and the vocals, which are a bit reminiscent of Turkish or Indian gal-belters, add further dimension. And then “Bobofoli” redirects into the heart of Africa, the guitar redolent of the Sahel as the song taps into an atmosphere of the cosmic.
A lot of global sounds that are tied to traditional forms tend to utilize a direct approach on their recordings, but Orchestra Gold welcome the enhancements of studio production. This is unsurprising for an outfit with a psych comportment, though the production techniques here accentuate the songwriting rather than mask structural deficiencies.
For example, “Gende” situates the guitar further back in the mix, where it still has an impact but doesn’t dominate (it’s Diakite that’s upfront), at least until a structural shift and a boost in momentum arrives a little over mid-way through the cut, with Huffaker and the horns stepping to the fore. But changes of tempo are a recurring motif on Medicine, as the nearly seven-minute “Dia Ye Banna” is a showcase for these maneuvers, starting out slow but intense, then kicking it up a few notches in the midsection before bringing it back down and finally ramping it back up for the close.
Bands that are this deft often blunder into flashy overplaying, but happily not here. Instead, “Segou Heat” does exactly what it’s title implies, establishing a torrid pace for the record’s most concise selection and setting up the closing track. Although the title “Tequila Jam” might imply a looseness of interaction, the playing is wholly unified and direct, with a groove sharp enough for play in an old-school discotheque. While Medicine is a wicked style hybrid, Orchestra Gold is primarily about movement.
GRADED ON A CURVE:
A-
