Number 989 of 1001 Albums You Must Hear Before you Die.
Frank “Machito” Grillo is credited with merging afro cubist rhythms and Big Band jazz to create both Cubop and Salsa Music. I encountered the Cubop vibe back on the Sabu record but where that sound was sparse and primal, Kenya is a different organism. Trumpets and saxophones stab, wail and croon around a syncopated hustle of bongoes, maracas and drums. Melody is used as a mere support for the rhythm section that propels Kenya through space, time and dance floors.
I had originally written this whole review based on how much Kenya reminds me of 1960s cinema; where white men and women were always dancing out complicated mating rituals to a sultry pastiche of percussion and jazz. Movies where a soundtrack of horns and bongoes accompanied criminals outrunning cops and lengthy car chases through downtown America. That weirdo cultural appropriation (exploitation?) thing that went with movies from that era.
But what strikes me most about this record are the uptempo numbers like Wild Jungle and Cannonology which burst with syncopated percussion just like the UK’s Jungle scene of the 90s. Kenya shares the same rolling but jittery rhythms, the same urgency, the same staccato vibrations. It’s a sound that somehow manages to be frantic and spacious at the same time. I wonder why Cubop and Salsa isn’t referenced more often in relation to the Jungle and Drum n’ Bass scenes? Miles Davis gets mentioned as an influence on these artists and perhaps that’s in relation to his 60s and 70s ‘funk’ works, a period in which he definitely lifted plenty from people like Machito.
The majority of Kenya plays out at half the pace, exhaling a smoky romance. Percussion is still key but the frenzy has been dialled down to a rushed waltz. The vibe remains cinematic though and it becomes clear to me why contemporary musicians like Mike Patton have mined the quirks of this genre to create their own weird and wonderful atmospheres (Faith No More’s Caralho Voador, and pretty much anything from Mr Bungle are good examples of this).
Will Kenya be something I listen to regularly? I’m not really sure. It’s taken me almost a year to get through the first 12 records in this 1001 Albums exercise, and what I’m learning is that these older records have almost been tarnished for me by so many different factors. It’s difficult to step away from how artists have appropriated and reconstructed early musical genres over the years, and too often a record that must have sounded fresh and cutting edge back in the day sounds far too familiar to my ears today. While Kenya is definitely not forgettable, I’m not sure I’ll be dusting it off and playing it again any time soon.