Over a third of Bata Ketu was recorded in Brazil. In the case of most of the Brazilian singers, they had never been in a recording studio before, having only sung these songs in a ceremonial context. Fortunately, the only problem that arose from this was the singers' tendency to dance while they sang. It was a joy for Michael and Mark to see how much the Brazilians enjoyed hearing the Cuban orisha songs and rhythms on the tape. Later, when they took a copy of this work to Cuba and played it for Matanzas' Grupo Afrocuba, they witnessed a similar response. When the Cubans started dancing around the room (even attempting to dance the Brazilian samba), they knew that they had created something unique that transcends cultural boundaries.
Act I Elegua/Exu
Act II Osain/Osanyin
Act III Chango/Xango
Act IV Iroko
Act V Ochosi/Oxossi
Act VI Ochun/Oxum
This amazing work was realized not only through the superb performances of Michael and Mark, but it was also accomplished with the aid of cutting-edge technology. With digital recorders, they were able to record percussion tracks in the United States and then travel to Brazil to add the voices of candomble practitioners. With the further technological aid of computers, Michael and Mark made the seamless edits which put the Cuban and Brazilian singing "together" in flawless synchronization. Thus, from great respect for an ancient tradition and considerable skill and knowledge of contemporary recording techniques, Michael and Mark have created a modern masterpiece.
We encourage you to listen to Bata Ketu with headphones, as there are subtleties in the mix that will be enhanced by listening closely. We sincerely believe such close scrutiny will no doubt delight your ears, but however you choose to listen to it, we bid you to sit back and immerse yourself in this musical celebration.
