This piece combines the serenity and wisdom of the old, sage Oxalá , with the deep meditation of Far Eastern philosophy.  The melody is always questioning without ever responding, celebrating an endless dawn. The atabaque, while staying within the set language of the rum, is also inspired by the traditional Japanese percussion of the Nô and Kabuki theater, using extreme dynamics and accompanying every step of the story. Ascending and interrogative melodies; questioning in conjunction with the infinite Universe.

Nessa música unimos a meditação profunda, inspirada pela serenidade do velho Oxalufã, com a filosofia do oriente extremo. A melodia sempre questionando sem nunca responder, celebra um amanhecer sem fim. O atabaque, além de usar a linguagem tradicional do rum, é também inspirado pela percussão tradicional japonesa do teatro Nô e Kabuki, usando dinâmicas extremas e acompanhando cada passo da história. Melodias ascendentes e de interpelação. Interrogativas em conjunção com o Universo infinito.

Batá Nippon

The classic Baden-Powell song played over the traditional rhythm for Xango : Aluja

Canto De Xango

Tenor Saxophone: Glaucus Linx / Rum: Antoine Olivier / Rumpi: Ogan Ely de Omolú (Axé Oxumarê) / Lê: Tiago de Magalhães / Gã: Gabriel Guenther.
	Opanijé is the sacred song played for the Orixá Omolú, which is traditionally accompanied by a dramatic dance, expressing the duality and ephemerality of reality. The melody of the sax symbolizes the Orixá, telling his story through the movement of the melody, in the same way that the deity utilises dance in the candomblé ceremony. The music emerges from the energy of the drums following the different stages of the ritual. It shows the power of life and healing, honoring Omolú, passing through the moments of our existences, and of our spiritual evolution. The beginning represents the beauty of life and the importance of healing, while the long subdued break exploring the depths of disease and fever. The end marks the return to health through healing.

“Opanijé” é o toque sagrado entoado para o orixá Omolú, que é acompanhado por uma 
dança dramática, dialogando com a dualidade e efemeridade das coisas. A melodia do sax 
simboliza o orixá presente, contando sua história através do movimento do som, assumindo 
o papel do orixá incorporado na festa de candomblé. A música surgiu de dentro do toque 
dos atabaques seguindo o ritual. É a potência da vida e da cura homenageando Omolú, 
passando pelas nuances de nossas existências, pelos “ires e vires” de nossa evolução espiritual.O início é força da vida e da cura homenageando Omulú e as paradas rítmicas, representam a doença e morte. O fim marca a volta à cura e a saúde.

Opanijé Xaxará

Vassi para Omolú in B-flat minor  
Soprano saxophone: Glaucus Linx / Bass flute and bass clarinet: Carlos Malta / Rum: Antoine Olivier / Rumpi: Ogan Licinho (son of Mother Lindinha of Gantois-Ilê Lara Omim)Lê: Ogan Ely de Omolú (Axé Oxumarê) / Gã: Ogan Emerson Munrra Axé Tumba Junsara)
	Vassi para Omolú expresses the agonizing wail and inner suffering which extend beyond the heart and manifest themselves in deep and pungent melodies, prayers and cries offered to Omulú the Orixá of healing. In this song, we are blessed with the contribution of the great multi-instrumentalist Carlos Malta. He brilliantly contributes textures and counterpoints revealing the spiritual depths of this composition. Carlos Malta offered us the vision of his "third eye"! 
Axé, Mr Malta !!

Vassi para Omolú é o lamento de agonia e sofrimento interiores que extravasam os corações e se manifestam em melodias profundas e pungentes, como preces e gritos, 
dirigidos ao Orixá da cura. Nessa música contamos com a participação excepcional 
do grande multiinstrumentista Carlos Malta. Ele contribui, de maneira brilhante 
com suas texturas e contrapontos que revelaram as profundezas espirituais que
 residiam nessa composição. Carlos Malta nos presenteou com o seu “terceiro olhar” ! 
Axé, Mr Malta !!

Vassi Para Omulu em Si Bemol Menor

Saxofone soprano: Glaucus Linx / Rum: Antoine Olivier / Rumpi: Dofono de Omulú / Lê: Jose Izquierdo / Gã: Ogan Joilson São Pedro / Karkabous Gnawa: Cyril Atef. 
A melodia d'inspiração Norte Africana é muita expressiva e faz bastante uso dos “quartos de tom”  sonoridade inerente ao universo islâmico. Essa música e dedicada à Oxum, orixá da feminidade, da beleza, e do amor, mas com uma abordagem mais espiritual, inspirada do Sufismo (seita mais purista do Islã) onde a espiritualidade mostra a sensibilidade e sensualidade das melodias orientais, sem cair na facilidade da sedução carnal; o gozo é êxtase espiritual. Ora yê yê ô!  O grande percussionista franco-iraniano Cyril Atef toca os “karkabous” (castanholas  de metal) utilizadas pelos Gnawas, músicos/médiuns da África do Norte 
(Marrocos, Mauritânia e Argélia). O Mestre Chileno da percussão, Jose Izquierdo, também contribui seu suinge único.

Ijexá Gnawa

Chant for Exú: Ekedy Nicinha de Oxumarê / Chant for Ogum: Ialorixá Nildinha de Ogum (Ilê Lara Omim) / Atabaques: Antoine Olivier

In the same way that the group always sings for Exú and Ogum before going on stage, 
we open the album with salutations to the Orixás to ask for their blessings, to open our 
paths and win our struggles. It is an immense pleasure and honour to have the participation 
of these two great figures of the Candomblé.

Saudações

Tenor saxophone: Glaucus Linx / Baritone saxophones: Henrique Band, Rum: Antoine Olivier / Rumpi: Tiago de Magalhães, Lê:  Otun Alabê Raul de Ogum (Axé Òpó Àfonjá RJ) / Gã: Antônio de Jagun
	
In this song -  inspired by Oxossi, the Orixá of hunting -  a cinematic arrangement evokes a hunt.
First, the hunter invokes the Orixás to receive strength and luck while the melody follows him as 
he enters the forest until he finds his prey.  In the improvised middle section, the saxophone 
assumes the role of the prey, while the lead drum (rum) is the hunter, shooting his arrows with
each high stroke. The animal is struck, falls and gives its last breath.  Finally the hunter returns 
to the village, triumphant, tired, and displays his precious trophy. This song features baritone
saxophonist Henrique Band, who creates a rich arrangement with unusual sonorities, contributing 
beautifully to the creation of the background scene.

Aguéré - A Caça De Odé

Tenor saxophone: Glaucus Linx / Adijá: Ialorixá Nildinha de Ogum (Ilê Lara Omim), Rum: Antoine Olivier / Rumpi: Murilo de Ogum (Ilê Lara Omim) / Lê: Dofono de Omulú, Gã: Antônio de Jagun 

The word igbi means snail in Yoruba, and this song is dedicated to Oxalufã whose very slow pace 
expresses old age and the wisdom it brings. The adijá (metal bell) is the sacred instrument played by 
the most respected people present at the ceremony. Its continuous, sharp sound has many symbolic 
meanings and purposes. The introduction is an homage to the harmony of Creation, followed by 
contemplation in melodic praises. The next movement tells of the walk through the corners 
of the earth, with its varied pulsations, and ends with the return to the praises of the Orixá, 
in decreasing rhythmic motifs.

Igbí Adijá

Tenor & soprano saxophone: Glaucus Linx / Rum: Antoine Olivier / Rumpi: Ogan Joilson São Pedro  / Lê: Dofono de Omulú / Gã: Gabriel Guenther 

The rhythm bravum is associated with Oxumarê, represented by the rainbow snake of seven colors. 
Like Oxumarê, the music is very dynamic and positive, exploring the constant movement and cycles 
of the universe. The melody is partially inspired by Maurice Ravel’s Bolero in its use of repeated 
melodic motifs and odd cycles. The snake dances to this rhythmic stop-and-go, culminating in the 
middle section where it writhes madly. In a moment of primal and crude vitality, Glaucus blows 
the two saxophones simultaneously, while the atabaque rum also explodes in bursts of 
rhythmic energy. In the end, the sax resumes the initial melody and slowly hypnotizes 
the atabaques, numbing them until they release a final surprise burst.

Bravum Sete Cores

Rum: Dofono de Omulú / Rumpi: Ogan Lazaro (filho de Ogan Arranha)Lê: Ogan Licinho (filho de Mãe Lindinha do Gantois) / Gã: Ekedy Nicinha de Oxumarê

The great master of the atabaques, Dofono de Omulú, taught the art of the Ketu drums to Antoine. After 
years of study and participation in the Candomblé ceremonies with Dofono, Antoine founded the group 
Alabê KetuJazz with Glaucus Linx. From the beginning, the master strongly supported the project and 
participated in the live shows of the group, also being the spiritual guardian of the band - our Babalorixá. 
The Ramunha is the rhythm that closes the Candomblé ceremony. Here Dofono displays the qualities 
of a master drummer, making the incredible complexity of the Ketu polyrhythms seem simple.  
We are forever grateful for everything he has taught us, both musically and spiritually. Atôtô mestre!

Ramunha Final

Tenor saxophone: Glaucus Linx / Rum: Antoine Olivier / Rumpi: Dofono de Omulú, Lê: Ogan Lázaro (filho de Ogan Arranha) / Gã: Ogan Joílson São Pedro

This song is dedicated to Nanã, Orixá of life and death. Nanã embodies the feminine principle, which gives 
Light and begets Life. She is the guardian of the axé: the energy source of all that exists. The Caribbean 
influenced melody celebrates life and fertility. The inspiration comes from the commemoration of the 
solstices, revered by all who depend on the fruits of Mother Earth.

Savalú Motumbá

Alabê KetuJazz was founded in 2012 by French percussionist/composer Antoine Olivier and Brazilian saxophonist/composer Glaucus Linx.

Antoine was the apprentice of the great master-drummer of the Afro-brazilian Candomblé: Dofono de Omulú. He became an ogan in the religion (sacred drummer) and played in the ceremonies where he learned the language of the rum (the lead drum) and how to establish a dialog with the orixas, the African gods incorporated in the body of the dancing practitioners who are in trance.

Glaucus created melodies through his osmotic and ancestral link to the universe of the Candomblé, with which he grew up in Brazil, and later reinforced by his long stay in France. There, he collaborated with numerous African artists: Salif Keita (Mali), Clément Masdongar (Tchad), Kiala (Nigeria/Togo), Jules N’Diaye (Sénégal), Orchestre Nationale de Barbès (Argélia).

Together, Glaucus and Antoine created original music and textures inspired from the rhythms and the rituals, where the saxophone assumes the part of the orixá telling his story through musical movements. This artistic approach opened many esthetic possibilities, transforming the raw material of the rituals in a new musical format, essentially Brazilian, where the spontaneous creativity of jazz meets the traditional rhythms of the Ketu nation.


O Alabê KetuJazz foi fundado em 2012 pelo percussionista e compositor francês Antoine Olivier 
e o saxofonista e compositor brasileiro Glaucus Linx.
Antoine foi aprendiz do grande mestre das percussões afro-brasileiras Dofono de Omulu durante 10 anos. Ele se tornou ogan na religião e participou das cerimônias, aprendendo a linguagem dos tambores e como dialogar com os  orixás (deuses da religião Candomblé de nação Ketu). Glaucus criou melodias através de sua ligação osmótica e ancestral com o universo do candomblé, familiar em sua infância e reforçada posteriormente pela experiência e convivência com as culturas africanas e orientais. Em sua longa estadia na França, ponto de encontro das artes Ocidental e Oriental,  ele tocou e colaborou com vários artistas africanos  - Salif Keita (Mali), Clément Masdongar (Tchad), Kiala (Nigeria/Togo), Jules N’Diaye (Sénégal), Orchestre Nationale de Barbès (Argélia).
Glaucus e Antoine criaram juntos músicas e texturas originais à partir dos ritmos dos rituais, onde o saxofone assume o papel do orixá contando uma história em movimentos musicais. 
A abordagem artística abriu as portas das possibilidades estéticas, transmutando a matéria-prima dos rituais em um novo formato musical, essencialmente brasileiro, onde a característica de criação espontânea do Jazz e os ritmos rituais da Nação Ketu se encontram.

Alabê Ketujazz

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