Vol. 2: Baca Sewa is the third album by composer and multi-instrumentalist
Cochemea Gastelum. A direct sequel to 2019's
All My Relations, it further explores his Sonoran Yaqui/Yoeme ancestry by melding indigenous and folk melodies, spiritual and soul-jazz with a ceremonial approach and near-psychedelic production. He enlisted seven percussionists who play an array of bongos, bass drums, congas, kalimbas, repinique, bombos, surdos, and shekere, as well as a vocal chorus accompanying his flute and saxophones. There are direct links to a few of
Gastelum's most important influences in his approach here too. One can readily hear his nod to
Jim Pepper's sparse, circular, deeply emotive phrasing,
Yusef Lateef's airy harmonic invention, and
Gary Bartz's rhythmic lyricism in his playing.
Opener "Burning Plain" entwines a chorus of congas and bongos to a snaky, reverb-laden modal alto line that crosses Middle Eastern modes and droning blues. "Tukaria" commences with bass drums, shereke, and congas. They lay down a funky, circular parade rhythm as
Gastelum's alto dialogically engages them in rhythmic and harmonic conversation through the modal blues and soulful melodic embellishments.
Gastelum's love of soul-jazz and R&B flows through the tender "Chito's Song." Its stacked drums engage a Latin-tinged rhythm that flows around a summery melody that directly nods at
Gary Bartz's NTU Troop circa
I've Known Rivers. "Nahsuareo Bwikam'' offers ritualistic, deep, echoing rhythms and staggered chants above a reverbed alto sax working a wah-wah pedal.
Gastelum brings out a flute for "Black Pearl." It offers a short articulation of its intricate melody atop bass drums, bombos, marimba, kalimba, and shakers. An echo-laden saxophone joins the flute in a serpentine lyric line above a primal circular rhythm before engaging them all in call-and-response. Here,
Raymond Scott,
Tino Contreras, and
Eddie Harris commune with the spirits of one another. Speaking of
Harris, the electric bassline that introduces "Curandera" (titled for the medicine women of the Sonoran Desert), meets a reedy, bluesy, wah-wah-driven alto horn amid layers of conversant drumming above a percussive choral chant.
Gastelum's solo cuts across jazz, funk, field hollers, and even Afrobeat. The set closes with two versions of the title track. The first is an indigenous chant with ceremonial drumming underscoring all the preceding sounds. The second is an instrumental with a tender soul-jazz melody that could be a 21st century coda to
Jim Pepper's classic "Witchi-Tai To." Electric piano and bass meet
Gastelum's sweet alto resonance, waxing lyrical atop layered percussion and bells.
Baca Sewa travels deep and wide, joining its predecessor in celebrating immediate family and ancestral roots, and musical influences.
Gastelum weds earth and spirit through an integrated personal iconography of musical and spiritual traditions with compositional prowess and an instantly recognizable tone. ~ Thom Jurek
