Fourth World, formed in 1990, featured the legendary Brazilian jazz percussionist Airto Moreira, the six-octave voice of Flora Purim, guitarist Jose Neto, keyboardist/flutist Jovino Santos Neto and Gary Brown on bass and back-up vocals.
Airto worked with Miles Davis during the Bitches Brew era. His leadership in the fusion genre (Weather Report, Return to Forever) placed Airto in the forefront of percussionists worldwide. Airto’s effect was so powerful that in 1972 Downbeat Magazine added a “percussion” category to its readers’ and critics’ polls, and Airto has been voted ‘best’ in that category almost ever since. Winner of the 1996 Drum Magazine Award for best percussion and Jazz Central Station’s 1996 Best Percussionist Award, Airto keeps on winning fans worldwide. His formidable expertise in Brazilian cultures and percussion instruments make Airto’s performances both educational and electrifying.
Flora Purim’s contributions to the jazz world have been equally as important as Airto’s, and their partnership and marriage have created a bond that is recognizable in their music. They have been making music together since their collaboration with Return To Forever in the early 197s. Flora’s extraordinary six-octave voice has set a musical role model for many singers, but few have been able to reach the simple beauty, ethereal quality and sensuality that Flora brings to her music.
Guitarist Jose Neto worked double-duty with Fourth World on his Paradis guitar, which enabled him to be the band’s guitarist and co-bassist at the same time. Jose played chords, octaves and runs that almost defy belief, resulting in a unique barrage of bass runs, cascades of semi-acoustic tones and spine-chilling lead lines. The powerful guitarist from Sao Paulo is one of the most exciting prospects to have emerged in recent years.
Keyboardist/flutist Jovino Santos Neto moved freely from Brazilian rhythms to jazz to dense orchestral textures. His goal is to use his art to abolish the barriers that still exist between the so-called “styles” of music. He blended all of his influences into an exciting amalgam.
Bassist/vocalist Gary Brown began his music career at the early age of 11, already performing in Bay Area clubs with his two brothers and father, a jazz trumpeter. Gary went on to form his own bands and develop his talent as a bassist. Powerful and emotive, he has recorded, performed and toured with an impressive list of performers and worked on numerous film soundtracks.
Fourth World toured consistently in the U.S., Europe, South America, Russia and the Far East, gaining a reputation as one of the most exciting contemporary bands in the 1990s.
Fourth World Recorded live at Ronnie Scott’s (1992)
Fourth World (1994)
Fourth World live (1995)
Encounters of the Fourth World (1995)
Last Journey (1999)
Planet Drum, the percussion album that became a world music sensation 25 years ago is available again, remastered and with new tracks. The 25th Anniversary Special Edition will be available on Friday, December 2nd, 2016 in various formats, including Vinyl LP for the first time.
On Planet Drum, American drummer Mickey Hart (The Grateful Dead) brought together percussion maestros from various parts of the world: Zakir Hussain and Vikku Vinayakram (India), Babatunde Olatunji and Sikiru Adepoju (Nigeria), Airto Moreira and Flora Purim (Brazil), and Giovanni Hidalgo (Puerto Rico).
The Remastered 25th Anniversary Edition includes 3 new tracks: Sea Of Showers, Throat Games, And The Spot. Sea Of Showers features Flora Purim And Babatunde Olatunji. Throat Games is a vocal percussion piece with Baba, Sikiru, Zakir, and Airto. The Spot starts with the sound of water drops, and then showcases Zakir and Airto.
Planet Drum: Song Descriptions by Mickey Hart
1. Udu Chant 3:40
Udu Chant represents the struggle of Life and Death, which throughout history has been portrayed in ritual using percussion. Airto plays Portuguese wooden shoes called tamanco. I play the “Beam” and a giant hoop drum from the Arctic Circle, which together form the resounding low end. Sikiru maintains a timeline bell pattern, while Zakir plays custom-made electronic triggers connected to digitally-sampled ¬Udu drums.
Island Groove is the soft side of percussion. It is a slow but simple 4/4 samba of ashiko rhythm, based on the sounds of the Yoruban consonants: go, pa, gun. When put together, they become drum talk. This song evolved as the rhymes one person played reminded another of something in their own background. We were able to collectively draw upon our various traditions, and contribute individually to the creation of this composition.
Airto started this song with a slow groove which had the power of the drum set, without the usual accompaniment of cymbals. He used a variety of unusual instruments in the composition. Among these were Mexican donkey jaws and a metal spring which resonates on the body of the instrument when hit with a stick.
Dance of the Hunter’s Fire demonstrates the basic African polyrhythm, four beats against six beats. It is an interesting comparison of two rhythmic traditions, the African and the South Indian. What you hear is Baba’s interpretation of the six-beat rhythm laid against four-beat carpet, while Vikku improvises on the Ghatam.
Sikiru Adepoju – Bell
Frank Colon – Shekere
Giovanni Hidalgo – Shekere and Congas
Airto Moreira – ¬jembe, shakers
Caryl Ohrbach – Shaker
Babatunde Olatunji – jembe
Flora Purim – Shaker
T.H. “Vikku” Vinayakram – Ghatam
5. Jewe “You Are The One” 4:06
Jewe is an example of the use of the human body as a percussion instrument. Five of us are playing in this song, slapping our chests and singing. This cupping of hands and slapping of the chest cavity created a hollow thud, and allowed us to control the vibration of our voices.
Mickey Hart –Vocals, body percussion
Bruce Langhorne – Vocals, body percussion
Babatunde Olatunji – Vocals, body percussion
Flora Purim – Vocals
Gordy Ryan – Vocals, body percussion
6. The Hunt
This song represents the primitive with a feeling of the relentless pursuit of the hunt. Sikiru’s talking drum speaks over the djembe, Jew’s harp, and drum set to form a unique rhythm.
At the dawn of religion, the Paleolithic trance dancers gathered in subterranean temple caves for ritual celebration. The natural sounds of the caves were an eerie backdrop to the dances. The echoes, the bats, the water dripping from the roof, the whacking of palm against stalagmite and the stalactite resounded thought the caves, creating unique percussive sounds. These sounds were the inspiration for Temple Caves.
The Dancing Sorcerer features Airto on berimbau, and Zakir on tabla and madal. The berimbau is one of the oldest instruments known to man. In fact, it may be the image of a musical bow in the caves at Les Trois Freres (15,000 BC) that provided the first documentation of percussion’s connection to the sacred. This picture resembles a man wearing the skin of an animal and playing some kind of instrument, possibly a sounding bow or concussion stick.
Zakir Hussain – madal, tabla
Airto Moreira – berimbau
9. Bones 4:10
This song is based on a rhythm I played on the balafon, with bones as mallets. The rest of the ensemble added their own sounds. The use of bones, especially human bones, exhibits a relationship between percussion and ritual. Hitting one bone against the other, or using bones on drums instead of sticks has an influence on the sound produced, and on the person who produces it.
Mickey Hart- Bones, balafon
Giovanni Hidalgo – batá
Zakir Hussain – Dundun, shaker and bell
Babatunde Olatunji – Vocals
Flora Purim – Vocals
10. Lost River 2:58
Lost River is a high-spirited song that demonstrates an interplay between the human voice and percussion instruments. To Zakir, this song brought to mind the singing of children in the mountains of India. The drums provide the strong rhythm which lays a foundation for Flora’s flowing melody.
Evening Samba is a mixture of Brazilian and Angolan rhythms, a perfect frame for out extended bell improvisation.
Sikiru Adepoju – Bell
Mickey Hart – Bell
Zakir Hussain – Bell
Airto Moreira – Bass drum, snare drum, tom toms, tambourine, whistles, wood blocks, metal percussion, cymbals, bells
Babatunde Olatunji – Shaker, bell
T.H. “Vikku” Vinayakram – Ghatam
12. Iyanu “Surprises” 2:02
Iyanu was recorded in 1986, after the Olatunji sessions which resulted in the recordings of the “Invocation to the Orishas” and “The Beat.” The gourds were grown in my garden, and arranged into a new instrument, a gourdophone. Airto played metal brushes against split bamboo.
Mysterious Island began with recording I made of ocean waves late one night in Kona, Hawaii. I brought back the recording and played it for the ensemble. It was the inspiration for Flora’s seagulls and for her dialogue with a circle of wind chimes which she assembled and walked among during the recording of the song. Mysterious Island mixes the natural elements of water, rain, blowing wind, and birds with the sound of metal bells and the human voice.
Mickey Hart – Grand dumbek, body percussion
Airto Moreira – Bird whistles, nose flute body percussion, tambourine
Flora Purim – Wind chimes, seagulls, vocals
Jeff Sterling – Udu Drum
The Bonus Tracks
This special, remastered 25th anniversary release includes three new tracks produced by Mickey and Zakir, with Zakir’s arrangements of material from the original 1991 recording sessions.
14. Sea Of Showers 4:52
Sea of Showers features Flora Purim and Babatunde Olatunji singing over an elegant rhythm base that includes sounds from Airto’s Aboriginal Australian bullroarer to Flora’s chimes.
15. Throat Games 2:27
Throat Games presents a pan-global scat-a-thon by Babatunde Olatunji, Sikiru Adepoju, Zakir Hussain, and Airto Moreira, using styles of vocalizations from their various musical traditions.
16. The Spot 4:34
The Spot begins with the sound of water drops, and then Zakir Hussain and Airto Moreira dance with the rhythms of the tiny waves in an homage to the water gods.
Airto Moreira and Babatunde Olatunji both have solidified reputations as master percussionists, trailblazers in the percussion realm and pioneers of global music. They teamed up from time to time as well, on each other’s projects and on such milestones as Mickey Hart’s Planet Drum album. Olatunji’s death earlier this year marked the passing of a true legend. I’m betting it’s more than a coincidence that his first posthumous album is emerging at the same time as a new release from Airto (on the same label, no less), but speculation on that point is far secondary to the fact that we have two stunningly good percussion-based discs here.
There’s nothing Airto Moreira can’t do with percussion. In decades of solo and group work with jazz fusionists, experimental musicians, rock and rollers, traditionalists and beyond, he’s been able to take even the most deceptively simple-seeming gadgets and make magic with them. And no wonder. He grew up in Brazil, land of imported African beats and a place where the rules of percussion have been rewritten repeatedly. Nonetheless, Life After That is a surprising stunner even for Airto. Some of his work has been more about creating moods and environments centered around percussion and vocal sounds than conventional drumming pieces, but this latest is the best of all worlds. It’s a near-perfect balance of feverish drum jams, rhythmic soundscapes, brilliant symbiosis of melody and beat and lots of just plain fun. Smack dab in the middle is ten minutes of Airto soloing on the Brazilian tambourine known as the pandeiro, and before and after that such guests as fellow percussionists Giovanni Hidalgo and Michito Sanchez, vocalist Flora Purim (Airto’s wife) and didgeridoo specialist Stephen Kent add to the festivities. A smattering of guitars, bass, piano and winds sometimes adds refinement, but this is a percussionist’s utopia through and through. Still, global music listeners across the board are likely to groove to what’s here, be it the Olatunji tribute, the sprawling “Ritmo Do Mundo” or the human beatbox-with-Jamaican-accents track “Let It Out Let It In,” which my kids have lately been singing around the house quite a bit.
The words “healing session” could be applicable to just about everything Olatunji did in his life, given the shamanic quality of a performing, recording and teaching career that began with the unprecedented success of his Drums of Passion album more than 40 years ago. Some of his discs were pure percussion, some added other instruments for a more fusion-geared sound, and he too collaborated with many notable music makers in his day. Longtime fans may be taken aback with the relatively low-key Healing Session, especially if it’s the hard, fast, intensely polyrhythmic Olatunji they’re used to.
The intricacies of layered African percussion are present, although the slower, unfolding nature of the tracks show an intimacy and meditative aura not often associated with Olatunji’s sort of drumming. But it works, wonderfully. Steady, hypnotic beats are embellished with further rhythms that both comply and contrast, taking their time to build to blissful convergences of percussion and chants that seem to sway in and out of some misty, otherworldly place. If that description sounds like new age blather, forgive me. The track-by-track specifics in the liner notes (written by Olatunji himself) state the case much better. Suffice to say that this cd has the same sort of depth as the mystical music created by, for example, similarly inclined indigenous peoples and Gregorian monks- longing, hopeful, reassuring, ultimately striving to make this world a more beautiful place. Immerse yourself.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion