Yehowah Kpo Kpo is a Ghanian religious song, which I encountered while playing with African musicians during 1998-2000, in the Scots Reformed Chuch, Rotterdam. Love songs and religious songs from that part of the world often share the same effervescent character. Practising and performing with the Africans made my classical-European opinions about efficiency and professional attitude seem completely irrelevant. This could lead to grotesque situations, often very stimulating. To satisfy my European sense of order, a shortened recapitulation of the song is played after the improvisation, as if nothing had happened.
28/06/2015
CD Imaginary Day, track 8: Yehowah Kpo Kpo, organ Stevenskerk Nijmegen
The twenty-one tracks on Imaginary Day are divided into three groups of seven: Early morning, The afternoon and Late evening, night. These names are related to the sound of the organs on which the pieces were played. The first group of seven, representing the early morning, have the bright sound of the instruments in the Bonifaciuskerk, Medemblik and the Westerkerk, Amsterdam. The second group of pieces, recorded in the Stevenskerk, Nijmegen and the St. Willibrorduskerk, Berkel-Enschot, represent the afternoon, because the organs there have a darker sound. The third group, consisting only of pieces played at the organ in the Stevenskerk, stands for the late evening and night.
Yehowah Kpo Kpo is a Ghanian religious song, which I encountered while playing with African musicians during 1998-2000, in the Scots Reformed Chuch, Rotterdam. Love songs and religious songs from that part of the world often share the same effervescent character. Practising and performing with the Africans made my classical-European opinions about efficiency and professional attitude seem completely irrelevant. This could lead to grotesque situations, often very stimulating. To satisfy my European sense of order, a shortened recapitulation of the song is played after the improvisation, as if nothing had happened.
Yehowah Kpo Kpo is a Ghanian religious song, which I encountered while playing with African musicians during 1998-2000, in the Scots Reformed Chuch, Rotterdam. Love songs and religious songs from that part of the world often share the same effervescent character. Practising and performing with the Africans made my classical-European opinions about efficiency and professional attitude seem completely irrelevant. This could lead to grotesque situations, often very stimulating. To satisfy my European sense of order, a shortened recapitulation of the song is played after the improvisation, as if nothing had happened.
