Rahmat Shabazz

Divine Order Studios in Bowie Md provided the perfect space and accommodations for this live ensemble recording. Pandemic protocols challenged rehearsals and preparations, but Charles Rahmat Woods' DC working band rose to the artistic occasion. 



              CHARLES RAHMAT WOODS

TARIKA BLUE NOTEBOOK

PUBLISHED (P) 2020 RAHMATSHABAZZ

1.       BE SOFT AND LET IT LAUGH SLOWLY (2:30)

2.       BARACK (5:25)                                  

3.       MARGIE (4:59)                                                                          AFTER FAJR(5:42)                                                           

5.       THE LANGUAGE OF BIRDS  (5:22)

6.       ORANGE OUTRAGE: REQUIEM FOR CHARNISE (6:19)

7.       THE UNIDENTIFIED SOUND (7:46)

8.       HAMIET (7:18)

9.       TWELVE OH ONE (3:59)                 

CHARLES RAHMAT WOODS – FLUTE/ALTO SAXOPHONE/SOPRANO SAXOPHONE/ SPOKEN WORD

PETER FRASSRAND – FENDER RHODES PIANO/STEINWAY ACOUSTIC PIANO

EMORY DIGGS – ACOUSTIC AND ELECTRIC BASS

GUSTAVUS JOHNSON – DRUMS

TAREA ANDERSON – VOCAL (“Be Soft and Let it Laugh Slowly”)

[Allyn Johnson – Keyboard cameo (“The Unidentified Sound”)]

All songs written by Charles ‘Rahmat’ Woods and published by Rahmat Shabazz (BMI) except: “After Fajr” written by Ahmad Jamal and published by Mayah Publishing (BMI); “The Unidentified Sound” written by Charles  H. Woods and Paul Cleague / published by Rahmat Shabazz (BMI); “Margie” written by Bruce Robinson / published by Rahmat Shabazz (BMI). Cover art paper sculpture by Kailani Qaranivalu. Recorded 8/15/20 at Divine Order Studios. Allyn Johnson – engineer.

Noted flute/saxophonist Charles Rahmat Woods began study of Eastern mysticism at the tender age of 13 years old in Buffalo NY. As a young musician at Syracuse University in the early 1970’s he co-founded with pianist Phil Clendeninn, multi-reed player Bruce Robinson, bassist Barry Coleman, and drummer Kevin Atkins, the eclectic and popular Jazz band “Tarika Blue” (The Blue Path). Now, fifty years later, Rahmat has opened a ‘well-worn’ notebook of music and reflections to present his latest release “Tarika Blue Notebook”. It is a select collection of tunes lifted from the original document, or written and inspired over the course of his career. The quartet also performs a beautiful and rarely done work composed by the great Ahmad Jamal, “After Fajr” (morning prayer). Special thanks to Roy Haynes, Ahmad Jamal, Felton Armstrong, Frantz Wilson, Sara Donnelly, Bill Warrell, and Hassan Abdul-Ali.

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‘TARIKA BLUE NOTEBOOK’: THE MUSIC

1.            BE SOFT AND LET IT LAUGH SLOWLY (2:30) - It took Charles Rahmat Woods years and years to find the perfect voice to embellish the haunting melody of this song.  Vocalist Tarea Anderson stepped right up when the opportunity to record came up, and she has captured the song’s essence.     

2.            BARACK (5:25) – Written in 2008 in recognition of the historical significance of the election of Barack Obama as 44^th President of the United States, this arrangement has become a popular staple in Rahmat’s repertoire.                                      

3.            MARGIE (4:59)   - Written by saxophonist Bruce Robinson, this tune was often performed by Tarika Blue and is a tribute to social activist lawyer, the late Margaret ‘Shanara’ Gilbert.                     

4.            AFTER FAJR (5:42) – Jazz Master pianist Ahmad Jamal composed this beautiful work, and Rahmat’s quartet has embraced it with unique energy.                                                             

5.            THE LANGUAGE OF BIRDS (5:22) – originally recorded as a solo flute piece (“The Language of Birds” ASR 025) this quartet version brings its swinging blues structure to the forefront.

6.            ORANGE OUTRAGE: REQUIEM FOR CHARNISE (6:19) – Charnise Milton was a young community journalist and graduate of Syracuse University, who was tragically killed when unknown assailants shot a deadly spray of bullets at people waiting near a public bus stop in South East Washington DC. Her death was a senseless tragedy. This powerful tune was written as testament to a poignant lost of brilliance and determination to succeed.

7.            THE UNIDENTIFIED SOUND (7:46) – With a contemporary groove and ‘miles-esque’ approach, Rahmat’s spoken word style may have been inspired by Archie Shepp’s famous rendition of “Scag”.

8.            HAMIET (7:18)- a heartfelt dedication to the late great saxophonist Hamiet Blueitt.

 9.            TWELVE OH ONE (3:59) – Upbeat swing…12:01…the clock strikes a new day