Bill Laswell and Laraaji, with Ka Baird
Bushwick United Methodist
December 16, 2017
The space is an introduction: the moment you walk into it, you’ve turned the first page. Walls and ceiling comprise the shell of a body memorialized by the reverberations of its weekly visitations: a “church,” you might call it, but whose actual name lies buried in the speech of those who’ve forgotten it. Headlights peer through stained glass and into the hearts of everyone who has come to listen. This place, you realize, has chosen you as its resurrection vessel, a memory stepping out of the haze as an itinerant preacher whose only scripture disintegrated long ago as padding for worn-out shoes.
Looking above and behind, you notice a beam of light: a “projector,” you might call it, but whose actual name floats preserved in minds of the technically inclined. The light stretches forth its arm, seeking a surface as a mudra would its vibrational link, until the skin of musician Ka Baird opens millions of tiny wings.
Her activations, privately ordained yet congregationally shared, uncover your ears with all the wakefulness of a sunrise recounted after sunset. By means of an instrumentarium that in any other context would pay secular homage at best to its origins, Baird unpacks her motifs at the molecular level. Threading prismatic arias through a chittering forest, looping her flute in recurring dreams of possession all the while, she refracts the self until it exhales a world apart. With each sustain, a thought reaches its climax, while echoes of a new beginning carve hieroglyphics of courage across your forehead. She fills her mouth with galactic marbles, shooting each into an unwritten future.
Between dimensions, chains of conversation re-link themselves. Still, you stand alone, drinking in all those breaths as if they were a sutra exploded. The ceiling opens its eyes as a wall socket cannot close them and holds those depths close, a blanket against the cold.
The effect is such that by the time Bill Laswell and Laraaji draw their own curtain through the room, you’ve already turned inside out. What were once your ears are now your optical nerves, and vice versa. Amid a landscape of water and choral winds, Laraaji’s amplified zither is his field. Be it struck, bowed, plucked, hammered, brushed, or strummed, its language compounds the allure of burning magnesium, minus the threat of blindness. Each of its strings feels attached to something unseen. His mbira likewise treads with care, a clock’s dream made real.
Laswell’s bass is his talisman, a slab of wood and wire plucked from its heavy metal roots and transfused with a tambura’s drone-blood. His lines emerge, organic as they are brief, from the gift of spontaneous generation. Their patterns begin to match your own, following rhythms that tremble far below the floorboards. Without a map to follow, that which is written migrates into territories of the spoken, so that only poetry seems able to convey the prosaic spectrum of experience.
Whether singing or laughing, their voices are shimmering shadows. Like the incense wafting about the pews, their dimensions stretch the nostrils of your soul into canvases, across which to plot every fragrant constellation in a blush of indigo promise. All of which points to one truth: the groove is Earth, the rest is only sky.