Beat Out Shrine brainstormed from the meeting of Gerardo Frisina with Paolo Fedreghini (already Paul & Mark, Fedreghini-Bianchi, The Invisible Session).
Their first display is here on this 12”. Their ambition is to catch the essence of Afrobeat horn-arrangements, fusing them with American Afro-Jazz. In this scheme of ideas “The Chant” has an outstanding dialogue between trombone and baritone sax. As suggested by the title the track is named after the sample of a women African-folk choir. Which is pretty much the only sound sampled in it. The vocals are crucial in dragging the piece, reappearing at regular intervals from the music build around it. The music is organic, naturally played jazz with consistent shades of Afro-Caribbean music. 118 Bpm where The Invisible Session’s drummer Maxx Furian dialogues rhythmically with Cuban percussionist Ernesto Valdez building up a piece that is equally Afro, Cuban and Jazz in the same time. The sounds are acoustic, or occasionally electric, but never electronic. Yet the dance mood is strongly present as proved by the percussions entangled with drums. “Pinkie” is the track on Side B, more prominently Afrocuban and pretty much reflecting Frisina’s music identity. The title refers to a definition in old-school jazz given to mulatto girls with fair skin. The parallel is with the producers Fedreghini and Frisina, who are white guys making black music they believe in becoming sort of mulattos. Pinkie is less of a theme but contains a heavier groove. Its prerogative is sounding like a bomb in clubs but still beating at 110 Bpm. An electronic tune yet very groovy. Interesting to hear the baritone sax breaking in Free-Jazz style, bringing a sort of psychedelic feel. The musicians are the same as in “The Chant”, which is more jazzy however. Whereas “Pinkie” is more of a club-groove, sharp and heavy. A new beat with an old-school sound. If this 12” is an introduction there is more than one reason to hope for a full album.