Grand Union Orchestra: Made By Human Hands

Editor's Choice

Rating: ★★★★

Record and Artist Details

Musicians:

Ketan Kerai (dhol)
Baluji Shrivastav (v, tabla)
Mingo Rangel (g)
Ken Johnson (steel pans)
Gail Ann Dorsey (v)
Tony Haynes (p, tr)
Fiona Burnett (ss)
Tony Kofi
Courtney Pine (ts)
Gerry Hunt (g)
Claude Deppa (t)
Claude Deppa (perc)
Maria João Silveira (v)
Louise Elliott
Rosamel Burgos (quena, charango)
Wendy Anderson (t)
Josefina Cupido (d)
Sadjo Djolo Koiate (v, kora)
Adrian Sherriff (tr)
Yousuf Ali Khan (tabla)
Vladimir Vega (v, tiple)
Alison Limerick (v)
Andres Lafone (b)
Jonathan André (v)
Cemal Akkiraz (saz)
Sarah Laryea (v, perc)
Shanti Jayasinha (t)
Ros Davies (tr)
Yousuf Ali Khan (dholak)
Sabahat Akkiraz (v)
Tony Haynes (didjeridu)
Valanga Khoza (voice, kalimba)
Chris Biscoe (as)
Kevin Robinson (t)
Rick Taylor (tr)

Label:

Red Gold Records

June/2022

Media Format:

CD

Catalogue Number:

RGR340

RecordDate:

Rec. 1985 – 2011

Made by human hands, all right – a sprawling cast of crack musicians have crafted this celebratory recording, a work that cherry-picks 16 of greatest hits of a juggernaut of joy founded by composer Tony Haynes back in 1982, ostensibly as a mid-scale music theatre touring company.

That it has since gone on to release 10 albums, tour over 40 large-scale theatrical shows, maintain a company of performers from a wide variety of cultural backgrounds (oh, and a high proportion of female players) and highlight themes relating to persecution and exile is only part of the story.

From a remastered grab bag that contains everything from jazz, blues and Indian ragas to reggae, salsa and samba, GUO make tunes that feel timeless - and this dance-oriented gem is a case in point.

Guests have been legion, and legendary: Courtney Pine is here, blowing tenor alongside Claude Deppa’s trumpet on ‘Nanouman’ and buoying the dream vocal duo of Alison Limerick and Gail Ann Dorsey on the closer ‘I Live in the City’. Tony Kofi plays baritone sax and Fiona Burnett, soprano. Traditional instruments from Turkish saz and Africa-derived kalimba to First Nations Australia’s didgeridoo (wielded alongside Baluji Shrivastav’s dhol drum by Haynes himself) vie and blend in ways unlikely yet effervescent. While improvisation is key, arrangements, both choral and instrumental, are deft. Brass riffs keep the fire burning.

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