Ethnic Heritage Ensemble - Papa's Bounce (1998)

The Ethnic Heritage Ensemble was started by Kahil El’Zabar in 1973 and over the years has, like the best creative improvised music, evolved, negotiated encounters, re-formed itself and, in general, invented strategies to continue to present music that is both satisfying and challenging. This is a relatively new incarnation of the group. Joseph Bowie joined in 1986 while Atu Murray and Ernest Dawkins joined in 1997. At this time, only this and the previously issued Continuum (Delmark Records) document this edition of the Ethnic Heritage Ensemble on recordings.
But, even though this is a new grouping, relative to the longevity of the Ensemble, they already have the focus and glide of a long established group. However, if one accounts for the larger family of neighbors, colleagues, friends, and teachers, this grouping rooted long before this particular professional affiliation, albeit less formally.
Watching the individuals go about their various activities as friends, independent business executives, musicians, cultural keepers and disseminators, I’m struck at how smoothly they all operate. There’s a self-confidence and integration and sharing of activities that is, for the most part, smooth, focused and mutually respectful. Kahil is (and surrounds himself with artists who are) very professional. It is a state not uncommon among artists who have attained a certain level of competency and longevity. What is not so common is the level of creative involvement which they demand of themselves. This is a group not interested in coasting on or imitating their codified successes. The Ethnic Heritage Ensemble is not here to state the familiar. As a result, they have not become jaded but remain on the cutting edge. Quite simply, their artistry is still about statement, not restatement. Of course, statement without purpose of content means little and is best left to the pretenders and adolescents. The Ethnic Heritage Ensemble is the other half of music: good music.
This was Kahil’s second trip to The Spirit Room, the first being with his Ritual Trio (Ari Brown & Malachi Favors) on 6/10/97, an outing which produced Jitterbug Junction (CIMP 150). Having spent about 5 days with Kahil in production, I’ve yet to see him underestimate the listener, or his own intelligence, or be satisfied with material which doesn’t have a depth of substance and a technical excellence.
Here is a concert, an offering of artistry, which was worth our time and effort and, hopefully, yours as well.